Historical Background
Women in sixteenth-century Europe had no independent legal standing, a condition which made it unlikely for any woman to achieve prominence.
Katharina von Bora strives to portray its historical period (1504–52) accurately – conditions within the convent and outside of it, the societal life of Saxony, two waves of Black Plague over Europe, the German Peasant War of 1524–1525 and Luther’s attitude towards it, Luther’s antisemitism, the Luther family’s boarding students in their home, theological debates over Protestant ideas like free will and salvation – the opera touches on all these contemporary realities.
Composer Valcu, a U.S. Citizen as well as a permanent resident of Germany, researched archives for three years before he began this work, spending time in Wittenberg, Grimma, and Torgau, where the action of the opera takes place.
Katharina von Bora is an admired historical figure in Germany today, with a statue in Wittenberg and memorabilia in her honor. It is fitting that an opera chronicle her life.
Synopsis
The opera describes von Bora’s life beginning with her consignment to a convent at the age of five and follows her eventual departure from holy orders, her improbable marriage to Luther, their love, the birth of their children, her successful management of Luther’s estate, and her struggle to maintain their family after his death. It dramatizes Katharina’s support of her husband in his teaching and his political embroilment and her creation of a thriving and loving home even while beset by disease, the attacks of Luther’s enemies, and the turbulence of the times.
Although von Bora and Luther were not much in love when they married, they grew to love each other. Von Bora took Luther’s domestic affairs in hand and transformed his bachelor lifestyle into a home for themselves and their children and a refuge for students, travelers, and even the sick.
A sign of the love that grew up between them, Luther’s will expressed complete trust in Katharina to care for their children, even in the event that she should remarry. This uncommon faith in his wife – not only unconventional, but technically illegal in the sixteenth century – distinguishes their marriage from all others which we know of at the time.
Act I
Germany 1504–1523 within the walls of Cloister Marienthron in Nimbschen
When Katharina is five, shortly after the death of her mother, her father takes her to a convent and tenderly consigns her to the nuns for care, which he can no longer provide. From this time forward she is taken care of by her aunt, Tante Lenchen, also a nun. At the convent, a young nun, Sophie, befriends the child. However, when the Mother Superior learns that Sophie is pregnant, Sophie must say a hasty farewell to young Katharina and suffer a severe punishment, which the child Katharina unfortunately witnesses. Years later, as a young woman, Katharina discovers a pamphlet written by firebrand Martin Luther. The pamphlet urges monks and nuns to leave their cloisters, marry, and take up secular lives. It circulates among other nuns in the convent, and a small group of them, evading the scrutiny of the Mother Superior, plot a daring escape. With the help of an agent of Luther, they sneak out of the convent during an Easter-eve ceremony.
Act II
Lutherstadt, Wittenberg 1523–1525
The runaway nuns are brought to Wittenberg. At a party in their honor, Katharina tells the story of their flight. The visiting King of Denmark, attending the party, presents Katharina with a ring in recognition of her courage as leader of the escape plot. Later at the party, Katharina and one of the guests, Hieronymus Baumgartner, an alumnus of Wittenberg University, profess their love for each other. Their courtship is secretly observed by an enemy of Luther’s, Bishop Adolf von Anhalt. Hieronymus leaves Wittenberg to go home and ask his father’s permission to marry Katharina; but Hieronymus never returns, and Katharina languishes. In the meantime, husbands or other places in society have been found for the other escaped nuns; only Katharina remains without a situation. A friend of Luther’s, Nikolaus von Amsdorf, coaxes Katharina out of her melancholy and urges her to accept another man as her husband. She rejects the new proposal and declares that she will now marry only Luther himself. To the amazement of Luther and his friends, this marriage makes sense, and Act II concludes with their festive wedding.
Act III
1525–1552 Inside the Wittenberger, Black Cloister]; 1552, TorgauKatharina and Luther take up domestic life in the Black Cloister, a former monks’ dormitory given to them by the Elector of Saxony as a wedding gift. There they host students for meals and discussion, and their love grows with the birth of their first child. Black Plague comes to Europe and many of their neighbors flee Wittenberg; but Katharina and Luther agree to remain and turn their home into a hospital. One of the sick who comes to their home for aid is that same Bishop von Anhalt who helped to wreck Katharina’s early love affair. She recognizes him, but forgives him, and treats his illness. Humbled by her kindness, he regrets his earlier cruelty. A luncheon at the Black Cloister welcomes students from distant Transylvania. Also present at this luncheon is a local official, Chancellor Gregor Brück. As usual, talk turns to religious matters, and Katharina voices shrewd opinions. The freedom of her speech and the deference that Luther shows her offend Brück, and he leaves abruptly. The couple’s domestic affairs prosper, but, tragically, their daughter, Magdalena, falls sick, and her death grieves them deeply. Luther must continue his political and religious activities, which entail much travel, leaving Katharina to look after the children and household. They exchange letters during his absence, and their love remains strong. During one of his journeys, Katharina has a premonition of Luther’s death and shortly thereafter she receives a report that he has actually passed away. She arranges for his funeral and for the continued care of her children, but Chancellor Brück rejects the will Luther has written and makes other arrangements for the children. Katharina defies him. She and her children fall into such deep poverty that she is forced to sell many of her belongings in order to survive. Plague returns to Wittenberg. Katharina tries to remain, but soon must flee to neighboring Torgau. On the way, her wagon fails and the entire family are flung out. Katharina manages to save her children, but she herself is badly hurt. The children tell their rescuers that their injured mother is Luther’s wife. A doctor is called. The children urge Katharina to rest and recover. Realizing that she is dying, however, Katharina reminisces on her zest for life, on what is yet undone, and on the injustices of the world. She prays for her children’s well-being. Looking forward to reunion with Luther and professing her belief in God, she passes away.
Revised Cast
| Performer | Voice Type |
|---|---|
| 1 | soprano |
| 2 | tenor |
| 3 | soprano |
| 4 | soprano |
| 5 | mezzo soprano |
| 6 | alto |
| 7 | mezzo |
| 8 | bass/baritone |
| 9 | soprano |
| 10 | baritone |
| 11 | tenor |
| Performer | Voice Type |
|---|---|
| 12 | tenor |
| 13 | baritone |
| 14 | bass/baritone |
| 15 | baritone |
| 16 | tenor |
| 17 | tenor |
| 18 | mezzo soprano |
| a | spoken |
| b | spoken |
| c | spoken |
| Performer | Role | Description | Appears in Nrs. |
|---|---|---|---|
| MAIN | |||
| 1 | Katharina v. Bora | Wife of Martin Luther | Throughout |
| 2 | Martin Luther | Religious reformer | Throughout |
| SUPPORTING | |||
| 3 | Elgard | A young nun | 3- 9, 13, 14 |
| 4 | Ave von Schönfeld | A young nun | 3- 9, 13, 14 |
| 5 | Elsa von Canitz | A young nun | 3- 9, 13, 14 |
| 5 | Margarethe | Katharina & Martin Luther’s daughter | 20 |
| 6 | Veronika von Deschau | A young nun | 3-9, 13, 14 |
| 6 | Walpurga Bugenhagen | Wife of Johannes Bugenhagen | 15, 16 |
| 7 | Tante Lenchen | Katharina’s aunt | Throughout |
| 8 | Father | Katharina’s father | 1 |
| 8 | Bishop Adolf II von Anhault – Köthen | Bishop of Merseburg | 11, 15 |
| 9 | Sophie | A young pregnant nun | 1-3 |
| 9 | Barbara Cranach | Wife of Lucas Cranach | 6-9, 13-15 |
| 10 | Nikolaus v. Amsdorf | Professor at Wittenberg University | 6-9, 12, 13 |
| 10 | Abbott | Monastery leader | 5 |
| 11 | Hieronymus Johannes | Young student and Katharina’s first love | 6-11 |
| 11 | Bugenhagen | A pastor | 13-16 |
| 12 | Phillip Melanchton | Theologian / intellectual leader of the Reformation | 6-9, 13 |
| 12 | Student 1 | Young student | 14, 16 |
| 13 | Lucas Cranach | Artist, printer, and Luther’s closest friend | 6, 7, 13 |
| 13 | Old Servant | Of Luther’s household | 4 |
| 13 | Student 2 | Young student | 14, 16 |
| 14 | Student 3 | Young student | 6-9, 13 |
| 14 | Doctor | At the scene of Katharina’s accident | 4 |
| 14 | Duke Johann | Elector of Saxony | 14, 16 |
| 15 | Leonhard v. Köthen | Merchant of Wittenberg | 3, 4 |
| 15 | Chancellor Gregor Brück | Lawyer and councilor of the Elector of Saxony | 16, 19 |
| 16 | Constantin | A young student from Transylvania | 16 |
| 16 | Hans | Older son of Kate and Martin | 18 |
| 16 | Christian II von Denmark | Exiled king | 6-8 |
| 17 | Cioban | A young student from Transylvania | 16 |
| 17 | Paul | Younger son of Kate and Martin | 20 |
| 17 | Adjutant | To Bishop Adolf Köthen von Anhalt | 11 |
| 18 | Mother Superior | Head of the convent at Nimbsche | 1, 3-5 |
| 18 | Else Agricola | Friend of Katharina | 6, 13-16 |
| CHILDREN | |||
| a | Katharina | As a child | 1-4 |
| a | 2nd acolyte | (girl) | 13 |
| b | Magdalena | Daughter of Kate and Martin | 18 |
| b | 2nd child | Of Katharina and Martine | 18, 19 |
| c | 1st acolyte (boy) | At the wedding of Katharina and Martin | 13 |
| c | 1st child | 18-19 |
Musical Numbers
| # | Title | Performed by |
|---|---|---|
| Act I | ||
| 1 | To the Cloister | Father Young Katharina Tante Lenchen Sophie Veronika von Deschau Mother Superior, Nun Jury |
| 2 | Sophie’s Aria | Sophie |
| 3 | Torture Scene/The Plan to Escape | Mother Superior Sophie Tante Lenchen Nun Jury Ave von Schönfeld Elgard Elsa von Canitz Veronika von Deschau Katharina Köppe |
| 4 | Yes, Herr Doctor | Luther Köppe Old Servant Four Young Nuns Katharina Mother Superior Tante Lenchen Abbott Monks and Nuns |
| 5 | Easter Night Escape | Ensemble |
| Act II | ||
| 6 | Welcome Party for Nuns | Elgard Ave von Schönfeld Barbara Walpurga Cranach Amsdorf Melanchthon Else Hieronymous King Christian II of Denmark Chorus |
| 7 | Escape Song | Ensemble |
| 8 | Anthem | King Christian II of Denmark Katharina Ensemble |
| 9 | Chorus’ Exit | Luther Amsdorf Cranach Bugenhagen Chorus |
| 10 | Love Duet | Katharina Hieronymous Adolf II von Anhalt – Köthen Adjutant |
| 11 | Don’t Cry Any More | Katharina Amsdorf |
| 12 | Wedding | Ave von Schönfeld Elsa von Canitz Elgard Veronika von Deschau Katharina Melanchthon Cranach Amsdorf Luther Bugenhagen Duke Johann Chorus |
| Act III | ||
| 13 | Domestic Life | Katharina Margarethe Tante Lenchen Ave von Schönfeld Elgard Veronika von Deschau |
| 14 | Black Plague | Katharina Barbara Walpurga Ave von Schönfeld Else Agricola Tante Lenchen Adolf II von Anhault – Köthen |
| 15 | Table Talk | Katharina Luther Tante Lenchen Students Constantin Cioban Brück |
| 16 | Madalena’s Death | Magdalena Katharina Luther Tante Lenchen |
| 17 | Traveling | Katharina Luther Children Tante Lenchen Ballet pantomime |
| 18 | News of Luther’s Death | Katharina Tante Lenchen Hans Brück Cranach Children |
| 19 | Finale | Paul Margarethe Katharina Doctor Chorus |
Evolution of the Work
When he first conceived this work, Valcu envisioned a bitter tragedy contrasting the acceptance, love, and success that Katharina von Bora enjoyed during her marriage to Luther, one of the leading men in Saxony during his life, and the rejection, bitterness, and loss she suffered after his death.
This powerful action would require only four characters – Katharina, soprano; Luther, tenor; Bruck, baritone; and Bugenhagen, bass. Such a small cast would fall within the range of any opera house to perform.
However, after beginning investigations into Katharina’s life, the composer became more and more fascinated by the remarkable events throughout his heroine’s life. He believed that Katharina’s story from the age of four until her death would captivate an audience. A performance chronicling over 50 years, however, would involve gigantic inconveniences. First, he would have to give up the simple, forceful conflict in exchange for a longer, episodic structure with cinematic transitions; second, he would have to write for a large number of singers. His admiration for Katharina combined with his years of experience as an opera conductor moved him to undertake the project. He limited the size of the cast by allowing for extensive doubling of roles, as well as some roles playable by non-singers.
Valcu communicated his vision to Zeiger, who composed the libretto.
In order to obtain a pop color, the composer had to sacrifice some classical compositional techniques. For example, the cadences at the ends of arias, duets, and other set pieces; counterpoint; musical constructions above an ostinato bass; rhythmic formulas played by groups of melodic instruments; and especially setting aside the traditional ranges of opera singers’ voices. All these beautiful compositional procedures, so beloved in classical music, were used with great restraint, or even omitted.
Influences
Musical associations with the opera’s historical time and place permeate its composition. References to the Renaissance and Reformation inevitably appear, notably including folkloric elements from the works of contemporary composer Michael Praetorius. The music of Handel, who grew up in Saxony the century after Katharina and Luther, also influences the work.
Lyricist
When Valcu first conceived of this opera, he started to look for a librettist, first in Germany and then in the U.S. Although he found two American writers willing, each of them gave up. Through a circle of common friends in New Castle, Pennsylvania, the composer then met Bill Zeiger. Zeiger began working on the libretto in June 2013. The work went through many drafts. Valcu and Zeiger collaborated smoothly, and Zeiger completed a workable script in time for the test premiere in November 2015. Valcu has the highest praise for Zeiger’s ability to readapt some text that required a specific “musicality of the word” in a given context.
Artistic License
While remaining true to the details of Katharina’s life, the opera takes dramatic license in retelling her story in the following ways:
- Nimbschen was not the first cloister where Katharina was brought as a child by her father. Prior to this, she was at the Benedictine cloister in Brehna.
- In the opera, six women escape from the convent. Historically, twelve (or nine) women participated in this escape.
- The aria for Sophie as well as Bishop Adolf von Anhalt’s sickness are inventions.
- In the opera, Katharina’s wedding to Luther takes place only once. In reality there were “two wedding meetings”; the first on June 13, 1525, with a small circle of friends, which Luther called “Wirtschaft,” and a more formal wedding and marriage feast which took place on June 27, 1525.
- On stage, Johann, the Elector of Saxony, gives the couple the Black Cloister at their wedding. In reality, although the couple probably lived in the Black Cloister from the time of their marriage, Johann formally gave them the building almost seven years later, on February 4, 1532.
- Luther’s final departure on a business journey in 1546 is not real. He actually left Wittenberg for Zulsdorf in 1545, having fallen out with the people of Wittenberg.
- The text of the postal correspondence between Luther and Katharina in 1546 is invented. The letters of Katharina are lost, and we have today only six letters of Luther to Katharina, although it is known that they wrote each other frequently.
- In the opera’s final act, Luther says goodbye to all his children. In reality, his boys went with Luther. Only Margarete remained in Wittenberg.
- At the end of the opera, Katharina dies within a few hours of her accident. In reality, she died about two and a half months later from an injury sustained in the accident.
Running Time
Without any cuts, the entire opera lasts three hours. In six of the twenty numbers, a verse may be cut, which can shorten the running time to two and a half hours.
Translation
Originally performed in English, the libretto of this opera has been translated into German by Thomas Mittmann.
Style
Valcu’s work can be called a “pop opera” because it combines the deep seriousness of opera with the popular appeal of musical theater. It includes pop voices along with classically trained opera singers and pop instruments among the operatic orchestra. Some of the arias are composed as “songs” – written in a lower register than for classical singers and conforming to pop music.
Despite its contemporary features, however, Katharina von Bora remains firmly rooted in the classical tradition. In such a work, modern compositional techniques like post-tonal or atonal scales do not intrude; time-proven and period specific tones prevail. In the score, the composer asks expressly that the staging of the work be done traditionally, never in a modern or abstract way. In the tradition of Grand Opera, this work presents its spectacle through elaborate costumes and sets, a large-scale cast, and an orchestra in a classic, conventional style and is based on historical events. This style excludes from the start ultra-modern musical techniques. The goal of the composer is to bring together in the concert hall opera and pop music lovers, old and young people, women and men alike, people of all religions and confessions.
Opera vs. Musical
Although viewers may think of it as a musical, Katharina von Bora is fundamentally a grand opera and not a musical. Classical opera originated in Italy in the late sixteenth century. The modern musical arose in the United States in the late nineteenth century. Both opera and the musical use music, dialogue, acting, make-up, scenery, costumes, dance, and technological effects to produce an impression. In operatic tradition, however, the music is primary; in the musical, words are primary.[6]
In the musical, the orchestra frequently falls silent while characters engage in dialogue on stage. The orchestra punctuates the action, highlights key moments, and provides transition. In opera, however, a halt in the music is rare. The opera achieves its effect through the sustained movement of musical texture.
In the musical the words of songs are clearly articulated and understood. In opera, even when words are not understood, the drama has its intended impact on the audience. The onward flow of music in the opera joins together all the action and all the meaning of the work.
Classical opera also typically portrays events on a grand scale, while the musical, though it may be opulent, likes a natural human frame of reference.
Through the magic of theatre, the musical may lure the audience into a fantasy world where anything can happen. Dreams may come true, or almost come true, and deeply stir the emotions of audiences who share and appreciate those dreams. But in the end, they are the dreams of ordinary people. The opera, on the other hand, like Greek epic, envisions not dreams, but the transcendent nobility of human aspirations. It bears a gravitas beyond the range of common human activity. It inspires a sense of fated effects, of actions imbued with fantastic powers. And so the opera attempts to elevate its audience beyond rational boundaries into a heroic realm described and sustained by music.
Katharina von Bora is opera in the classic sense.
Classical and “Pop” Voices
The vocal register for which Katharina’s and especially Luther’s music was composed is not strictly the one in which the classical soprano or classical tenor voice sounds the best. In order to accommodate both classical and pop voice styles, these parts are written for voices of a wider range. Even classically trained singers need to have a “pop timbre and color” in their voices. In some passages they will be asked to use a non-projected voice technique.
In Katharina von Bora we can find an infusion of pop style. Many melodic lines and harmonies evoke the simplicity of pop concert songs. Often during the performance, we hear modern rhythms of “light” music. In some songs we feel a strong beat which is very seldom found in classical music where the beat is more discrete and delicate, but clearer. However, the very complex orchestration determines the nature of the opera.
Instrumentation
The orchestra pit for Katharina von Bora contains two separate orchestras; one classical and one pop; but these two orchestras never play separately. When the moment requires a special pop-style color, the composer, who made the whole orchestration, uses both groups of musicians. However, after the test premiere, as mentioned above, the pop orchestra was concentrated and reduced.
The classical orchestra includes violin I and II, viola, cello, double bass, two flutes (piccolo), two oboes (English horn), two clarinets, bass clarinet, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, two percussionists playing bells, tom-tom, triangle, xylophone, vibraphone, and harp.
The scaled-down “pop orchestra” consists of guitar (classical, electric) for solo and harmony, synthesizer, two descant recorders (played by real descant recorder players but whose music is also written in the flutists’ notes and in synthesizer notes, to make options available), piano, bass guitar, and drum set.
Cast and Crew of Test Performance
| Role | Voice Type | Original Cast |
|---|---|---|
| Principal | ||
| Katharina | lyric soprano, wide range | Danielle Smith |
| Luther | tenor | William Andrews |
| Supporting | ||
| Five Companion Nuns: Anna Ava Elgard (/Margarethe) Frieda (/Magdalene) Hilde | mezzo soprano II soprano I alto mezzo | Lauren Faber Lauren Thayer Rhiannon Griffiths Rachel Read Erin Warren |
| Katharina’s father A. von Anhalt | baritone | David Pratt |
| Katharina as a child | (child’s voice) | Meghan Vance |
| Sophie Barbara Cranach | soprano | Becca Bly |
| Tante Lenchen | mezzo-soprano | Ariana O’Donnell |
| Hieronymous | tenor | Victor Cardamone |
| Nicholas von Amsdorf | baritone | Mark Hockenberry |
| Johannes Bugenhagen | tenor | William Ambert |
| Minor | ||
| Lucas Cranach | baritone | David Osorno |
| Leonhard von Köppe | tenor | Thomas Ewan |
| Chancellor Gregor Brück | baritone | Matthew Benzenhoefer |
| Melanchthon Hans Paul Student | tenor II/baritone | Joseph Spurio |
| Dr. Johannes Apel | bass | John Bonomo |
| Christian II of Denmark Student | baritone | Matthew Younger |
| Johann, Elector of Saxony Old servant | bass | Mark Doerr |
| Mother Superior | mezzo-soprano | Katherine Leihgeber |
| Sister Maria Hannah Schurf | mezzo-soprano | Lynn Rodemoyer |
| Walpurga Bugenhagen | alto | Samantha Connell |
| Adjutant Doctor Student | tenor | Kendall Williams |
| Cióban Student | tenor/baritone | Zachary Balog |
| Constantin Herr Axt Student | tenor/baritone | Jeremy Roberts |
| Luther children | (spoken) | Ella Vance Nora Ball Jacob Vance |
| Abbot | baritone | Samuel Barbara |
| Chef | (spoken) | Charles Wiley |
| Acolytes | (spoken) | Ella Vance Jacob Vance |
Critical Response
“What sets this work above many others are the absolutely beautiful, soaring, unforgettable melodies. These melodies seem to have been the very essence of the characters that sang them … I was instantly captivated … It was vibrant, logically conceived … The story unfolded at a quick dramatic pace … During the poignant final scene, as Katharina is dying I thought to myself, ‘What is this running down my cheeks?’ It was tears!”
Dr. Edward S. Groves). “Westminster Opera Defies Expectations.” New Castle News (3 December 2015)