Katharina von Bora is a non-religious opera in three acts about the life of Katharina von Bora, wife of Martin Luther, written by conductor and composer Mihai Valcu, lyrics by Bill Zeiger. It premiered on November 7, 2015, at the Will W. Orr Auditorium at Westminster College in New Wilmington, Pennsylvania, as a collaboration between New Castle Lyric Opera and Opera Westminster.
The opera portrays Katharina von Bora as a woman of extraordinary courage, resourcefulness, and intelligence in a time when women had few rights and little recognition. It treats Luther neutrally, as a man of affairs. It does not seek to make a religious statement, but to spotlight the blossoming of a strong woman in a dark era.
Women in the sixteenth century had no independent legal standing, a setting which made it unlikely for any woman to achieve prominence. The opera describes von Bora's life beginning with her consignment to a convent at the age of five and chronicles 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. Katharina von Bora is today an admired historical figure in Germany, with a statue in Wittenberg and memorabilia in her honor.
Historical context
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 of three epidemics of black plague over Europe; the German Peasants' War of 1524–1525 and Luther's attitude towards it; the life of the Luther family in the , where students paid to come and eat; theological debates over Protestant ideas like free will and salvation – the opera touches on all these contemporary realities.
Composer Valcu, a permanent resident of the U.S. as well as 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.
Marriage
Although von Bora and Luther were not much in love when they married, they grew to love each other. Luther's bachelor lifestyle did not meet von Bora's standards, and she took his domestic affairs in hand.
A sign of the love that grew up between them, Luther's will declared 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 this marriage from all the others which we know of at the time.
Roles Because the opera describes von Bora's entire life, many people appear in the performance, some only briefly. Therefore, one singer/actor can assume several roles. Performers may also be brought in from the opera house chorus.
+ Role Voice type Original castPrincipal Katharina lyric soprano, wide range Danielle Smith Luther tenor William Andrews Supporting Five Companion Nuns:Anna, Ava, Elgard (/Margarethe),Frieda, Hilde (/Magdalene) 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
Stage director: Anne Hagan Bentz Choir director: Samuel Barbara Choreographer: Rachel Read Nun jury: Katherine Leihgaber, Sylvia Ewen, Kathryn Mansell, Lynn Rodemoyer, Samantha Connell, Susan Speer Monk chorus for Easter eve celebration: Zachary Balog, Mark Hockenberry, David Osorno, Jeremy Roberts, Joseph Spurio, Charles Wiley, Kendall Williams, Matthew Younger, Matthew Benzenhoefer, John Bonomo, Thomas Ewen Dancers: Abbey Arrigo, Alexis Arrigo, Angela Colella, Sarah Jackson, Lauren Faber, Rachel Read, Chris Bezek, Patrick Raymond, Christian Na, James Helwig, Zach Balog, Joseph Spurio Student-guitarist: Robert Kushner Rehearsal pianist: Marie Libal-Smith
Synopsis
Act 1 Germany 1504–1523 within the walls of
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, who is 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 six of them, evading the scrutiny of the Mother Superior, plot an escape. The daring escape, with the help of an agent of Luther, occurs during an Easter-eve ceremony.
Act 2 Lutherstadt Wittenberg 1523–1525
The six runaway nuns are brought to Wittenburg, where, 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 return home and ask his father's permission to marry Katharina; but Hieronymus never returns, and Katharina languishes. In the meantime, husbands and places in society have been found for all the other nuns; only Katharina remains without. 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 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 3 1525–1552 Inside the Wittenberger ; 1552, Torgau
Katharina 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 Wittenburg; 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 treats him, forgiving her enemy. 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 a tragic event darkens their happiness when 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. 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. They are taken to a nearby house, where the children tell their rescuers that their injured mother is Luther's wife, and 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.
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 and [in] a quite believable manner ... During the poignant final scene, as Katharina is dying I thought to myself, 'What is this running down my cheeks?' It was tears!"
Lyricists
When Valcu was ready with the concept of his opera, he started to look for a librettist, first in Germany and then in the U.S., but 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. He completed the current script just in time for the premiere on November 7, 2015. The collaboration between the two was ideal. Valcu uses "spiritual terms of praise" for Zeiger's ability.
List of musical numbers