(The armory) Yellowish-red (The treasury) Golden (The garden) Bluish-green (The kingdom) White (the stage directions read: "in a gleaming torrent, the light streams in", "blue mountains") (The pool of tears) Darkness; the main hall is darkened, as if a shadow had passed over (The wives) Silvery (stage directions: "silver like the moon") The slow orchestral introduction to the work is preceded by a spoken prologue, also by Balázs, published as "Prologue of the Bard" independently of the play. This poses to the audience the questions "Where is the stage? Is it outside, or inside?" as well as offering a warning to pay careful attention to the events about to unfold. The prologue warns the audience that the morals of the tale can apply to the real world as well as to that of Bluebeard and Judith. The character of the bard (or "regős" in the Hungarian language) is traditional in Hungarian folk music, and the words of the prologue (notably its opening lines "Haj, regő, rejtem") are associated with traditional Hungarian "regősénekek" (Regős songs), which Bartók had previously studied. The prologue is frequently omitted from performances. The stage directions call also for occasional ghostly sighs that seemingly emanate from the castle itself when some of the doors are opened. Productions implement these in different ways, sometimes instrumentally, sometimes vocally. Music and instrumentation The most salient characteristic of the music from Bluebeard's Castle is the importance of the minor second, an interval whose dissonance is used repeatedly in both slow and fast passages to evoke aching sadness/disquiet or danger/shock respectively. The minor second is referred to as the 'blood' motif, for it is used whenever Judith notices blood in the castle. Overall the music is not atonal, although it is often polytonal, with more than one key center operating simultaneously (e.g. the leadup to the climactic opening of the fifth door). However, there are some passages (for example, door 3) where the music is tonal and mostly consonant. Many critics have found an overall key plan, as one would find in a tonal piece of music. The opera starts in a mode of F, modulating towards C in the middle of the piece (tonally, the greatest possible distance from F), before returning to F towards the end. The text and setting at these points has suggested to some that the F-C dichotomy represents darkness/light. The vocal parts are very challenging due