De Argeloze (The Guileless)

chamber opera in three acts
based on a story by Voltaire
themes: collision between and integration of cultures and religions,
corruption, self-sacrifice
and of course love

In this opera the instruments not only play accompaniment, but also have equal importance as the singers. On the other hand an equal level regarding ensemble play is required from the instrumentalists as from the singers (which is common practice in chamber music). In the scene play they are expected to be present on stage and when necessary take an active part in the drama. The hurdy-gurdy (an instrument through the ages both attracted and rejected by the church) has a symbolic function in relation to the innocence of Argeloos. He too is attracted and rejected by the church. The casting of this opera has been kept relatively small in the view of cost reduction. There is no need for a separate choir; the singers who are on stage will sing as a choir when required. The musical setting tries to underline and enhance Voltaire's story; therefore integration in a new society and culture is one of the important elements in this work.

First act

On the beach

A landscape with dunes, just visible are the towers of a monastery. In the foreground a beach, through the dunes leads a path to and from the cloister.

Terzet: Ontmoeting op het strand

Argeloos washes ashore on the beach and meets Mr. Kerkeboon and his sister.

Terzet II

After some confusing debates they invite Argeloos to come and join them home.

Several people arrive at the scene, who have no relevance to the action, but each and everyone of them has an opinion on Argeloos.

So does ms. Sintliefs, a well bread young girl. Everyone is talking to another, until Argeloos creates order in the chaos.

Aria van Sintliefs

Ms. Sintliefs describes her adoration for the fair stranger in an air.

Argeloos sees the girl and is lost at first sight.

The others dispute on the belief of Argeloos.

Argeloos is persuaded to be baptized, is no longer a "pagan" and with this loses the first bit of his innocence.

Argeloos remains at the beach. Two French soldiers arrive, followed by an Englishman and two English soldiers.

On his own, Argeloos beats the English, besung by the onlooking soldiers.

The Kerkeboons re-appear and recognize Argeloos as a descendant of their relative, who had gone to America. So Argeloos is now a distant relative of the Kerkeboons.

Ariaatje van Vreugde van Argeloos

Argeloos sings an air of joy, in which he testifies of his love for Sintliefs.

All the others also re-appear, and the Bailiff tells that Sintliefs was already promised to his son. The Bailiff kidnaps Sintliefs with violence, and Argeloos decides -in line with his guilelessness- to turn to the King for justice and to get permission to marry Sintliefs.

Second act

At a hotel near Paris

At one side is just visible the entrance to the hotel; furthermore we see a terrace in green shelter. At the other side is a quiet land road that leads to the main road.

Argeloos sings about his fate.

Aria van de eerste en de tweede Hugenoot,
Duet van de Hugenoten

Two Huguenots sing about the corruption at the court.

A Jesuit hears everything and shines his light on the matter.

Meanwhile he betrays Argeloos, who is then captured and led away to the Bastille.

Then Sintliefs arrives, who has escaped the Bailiff.

Now she is waylaid by the Secretary of the Minister.

Two audients of the King perform a little play,

while a third shows Sintliefs that the only way to rescue Argeloos is by losing her honour with the Secretary.

Sintliefs complaints her fate in an Air but eventually gives in.

Promptly after Sintliefs and the Secretary have left, the Kerkeboons arrive together with the Bailiff. They, too, are in search for Argeloos and for Sintliefs. They take a rest and have a drink at the terrace of the inn.

Third act

In a cell in the Bastille

A rather luxurious room. Lots of books and other materials for study are lying about. In a corner a small stairs lead to another space. Gordijn is sitting at a table, fumbling around in a book but in the meantime looking at Argeloos.

Argeloos had been put in a cell, which he shared with an older man, who listened to the name of Gordijn. This vital man had two important properties: he could listen, and he could endure misery.

Gordijn sings about his loneliness in an Air

Argeloos tries to explain to him what his encounters were, but as he did not know himself why he was brought hither, he could say little about it.

Argeloos sings in another Air about his doubts on the civilization that he has landed upon.

At that moment the governor of the prison personally comes with an unexpected message.

Sintliefs had achieved a safe-conduct for Argeloos by her sacrifice, and he would be allowed to leave the prison with her.

Argeloos does not understand what she has sacrificed for him and proposes that she may also try for the freedom of his friend Gordijn.

Sintliefs hears this and faints.

A warden enters with the Kerkeboons to set Argeloos free.

Argeloos sings a love song for her.

In shame about her own conduct she dares not tell the good news herself, and therefore has asked the governor to bring the message.

Gordijn suddenly understands what Sintliefs has done and asks her not to sacrifice herself for his sake.

Argeloos understands nothing of all this and steps outside. The Governor is persistently ignorant and talks only of himself.

Gordijn and Sintliefs sing a duet.

Sintliefs’ courage is sung upon, but still not everyone understands what she has done.

In the end all are gathered in the cell again,

and the disgrace of Sintliefs comes to light.

Now Argeloos understands and sings her praise.

Argeloos is set free.

While Sintliefs dies in shame, Argeloos acquires an officer's job in the King's army and is completely integrated in his new society.

----------

Cast (several roles are double casted, to keep the
total number of singers down to nine):

flute and piccolo
oboe and English horn
bassoon
violin
cello
double bass
hurdy gurdy