The Bartered Brides

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The opera continued to be composed in a piecemeal fashion, as Sabina's libretto gradually took shape. Progress was slow, and was interrupted by other work. Smetana had become Chorus Master of the Hlahol Choral Society in 1862, and spent much time rehearsing and performing with the Society. [11] He was deeply involved in the 1864 Shakespeare Festival in Prague, conducting Berlioz's Romeo et Juliette and composing a festival march. [12] That same year he became music correspondent of the Czech-language newspaper Národní listy. Smetana's diary for December 1864 records that he was continuing to work on The Bartered Bride; the piano score was completed by October 1865. It was then put aside so that the composer could concentrate on his third opera Dalibor. [13] Smetana evidently did not begin the orchestral scoring of The Bartered Bride until, following the successful performance of The Brandenburgers in January 1866, the management of the Provisional Theatre decided to stage the new opera during the following summer. The scoring was completed rapidly, between 20 February and 16 March. [13] Roles [ edit ] Roles, voice types, premiere cast Role As Kecel, David Ireland’s presence is as commanding as his bass-baritone, while John Findon, with his splendid tenor, is genuinely funny as Vašek, though he always ensures that the humour remains in keeping with the character. Whether he is nervous because a woman has merely passed him to go to the ‘ladies’, desperately trying to stomach even just a few gulps of beer or simply sprinting to the (wrong) toilet, it is impossible not to warm to him. With strong support from Yvonne Howard as Ludmila, William Dazeley as Krušina, Isabelle Peters as Esmeralda, Frazer Scott as the Strongman, John Savournin as Mícha and Louise Winter as Háta, this is not so much an evening in which there is nothing not to like, as one in which there is everything to enthuse about. Nan and Sarah learn more about their abilities in this one as they use all their talents to locate Spencer and get rid of him. Marès, Antoine (2006). "La Fiancée mal vendue". In Horel, Catherine; Michel, Bernard (eds.). Nations, cultures et sociétés d'Europe centrale aux XIXe et XXe siècles (in French). Paris: Publications de la Sorbonne. ISBN 2-85944-550-1.

Prodaná nevěsta". Toulky operou. Archived from the original on 4 March 2016 . Retrieved 28 March 2012. (in Czech) Synopsis [ edit ] Act 1 [ edit ] Open-air performance at the Zoppot Waldoper, near Danzig, July 1912 Big celebrations are promised in the Czech Republic for next year’s bicentenary of Bedrich Smetana, the “father of Czech opera” and composer of other orchestral and chamber music masterpieces. All eight of his operas will be staged as a cycle in Ostrava, but elsewhere we’ll have to make do with the familiar titles: no hardship when it comes The Bartered Bride, a score of sublime musical fecundity. Still, both Dvorak and Janacek owe a clear debt to Bedrich Smetana, whose efforts may have done more than any other to establish Czech music both at home and abroad. Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works.

Fourteenth in the Elemental Masters historical paranormal fantasy series and revolving around Elementals of Air, Earth, Water, Fire, and Spirit. The focus here is on Nan and Sarah working with Dr Watson and his wife, Mary, and set in June in Victorian London. With the exception of Jeffrey Lloyd-Roberts, and it is hard to picture anyone portraying the Ringmaster in this production so well, all of the principals are different to 2019, but undoubtedly superb. As Mařenka, Pumeza Matshikiza reveals a full yet nuanced soprano that possesses a great flexibility so that all of the required sounds are shaped extremely well. Oliver Johnston, with his strong and vibrant tenor, captures Jeník’s determination to succeed and wry humour in equal measure, while the chemistry between the pair manifests itself from very early on as they even reveal it through the simple act of making sandwiches together. The Bartered Bride is ultimately a comedy, and this production makes the scene in which Mařenka refuses to listen to Jeník’s explanation particularly amusing, but what comes across most clearly is the extent of her grief because she genuinely believes that the man who loves her has sold out. Large has commented that despite the colour and vigour of the music, there is little by way of characterisation, except in the cases of Kecal and, to a lesser extent, the loving pair and the unfortunate Vašek. The two sets of parents and the various circus folk are all conventional and "penny-plain" figures. [42] In contrast, Kecal's character – that of a self-important, pig-headed, loquacious bungler – is instantly established by his rapid-patter music. [10] [42] Large suggests that the character may have been modelled on that of the boastful Baron in Cimarosa's opera Il matrimonio segreto. [42] Mařenka's temperament is shown in vocal flourishes which include coloratura passages and sustained high notes, while Jeník's good nature is reflected in the warmth of his music, generally in the G minor key. For Vašek's dual image, comic and pathetic, Smetana uses the major key to depict comedy, the minor for sorrow. Large suggests that Vašek's musical stammer, portrayed especially in his opening act 2 song, was taken from Mozart's character Don Curzio in The Marriage of Figaro. [43] Film and other adaptations [ edit ] Two sets of parents bring slender characterisations: William Dazeley is a defeated-looking Krušina and husband to Yvonne Howard’s more assertive Ludmila, while John Savournin makes for an anonymous Mícha, but is nicely contrasted by Louise Winter’s feisty Háta. Their combined presence in Act 3 is not dramatically enhanced with the arrival of Kecal for their ensemble number where they simply stand motionless and face the audience without any internal interaction. More rewarding is the partnership found in Jeffrey Lloyd-Roberts’ circus Ringmaster and Lara Marie Müller’s sweet-toned Esmeralda, their duet presented with aplomb. A word too for the circus troupe whose dextrous acrobatics and juggling lifts the mood in spectacular fashion.

Conductor Jac van Steen was in charge from the opening ‘vivacissimo’ of the overture. The dynamics and rhythmic intensity of Smetana’s fugal stand-alone concert piece are extreme and the Philharmonia Orchestra rose to the challenge. Van Steen has worked in Prague and knows the opera very well having conducted the last Garsington production. He kept the tempos brisk with an authentic Czech folk lilt when appropriate. The Garsington Opera Chorus was in thrilling voice and provided much of the gentle humour of the piece ‘a woman’s work is never done but men can escape to the pub’ with choreographer Darren Royston’s dance steps adding to the general sense of bonhomie. The chorus twisting and jiving to Smetana’s waltz was an unexpected pleasure.

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Garsington is a truly glorious space to enjoy opera and offers a platform for emerging stars to develop, with well-rehearsed, world-class productions being delivered in what feels like a relatively intimate space. If you can, you should experience it!

Anon. (20 February 1909). " Bartered Bride at Metropolitan". The New York Times . Retrieved 24 May 2020. (subscription required) Many other nations can also boast of "favorite sons" whose music has achieved widespread fame — but few have been as musically blessed as the Czech Republic. Leos Janacek wrote a body of internationally acclaimed operas whose music seems inseparable from the rhythms and inflections of the Czech language itself. Antonin Dvorak wrote some of the world's most popular symphonies, yet even the one called the "New World" is unmistakably bound to Czech musical traditions. Number 13 of the Elemental Masters series and this one is loosely - very loosely - based on what I believe was Bluebeard's Wives. The final opening night of this summer’s Garsington opera season certainly whets the appetite for more Smetana. But given that Paul Curran’s 2019 production (revived here by Rosie Purdie) transposes the action from 19th-century to 1960s Britain, with Elvis fans doing the twist in place of the polka, it’s odd to find an entirely non-Czech cast parroting the original Czech rather than presenting the comedy in an English translation. With misplaced snobbery, “an exotic and irrational entertainment” is evidently still how the Brits like opera best.This redirection of the series really zings! It can also be read without reading the Elemental Masters series as a whole by starting with either A Study in Sable or an earlier volume which serves as a kind of prequel, The Wizard of London, which introduces the characters of Nan and Sarah as well as Lord Alderscroft, the titular “Wizard”.

Mařenka – Pumeza Matshikiza, Jeník – Oliver Johnston, Kecal – David Ireland, Vašek – John Findon, Ludmila – Yvonne Howard, Krušina – William Dazeley, Ringmaster – Jeffrey Lloyd-Roberts, Esmeralda – Isabelle Peters, Mícha – John Savournin, Háta – Louise Winter; Original Director – Paul Curran, Revival Director – Rosie Purdie, Conductor – Jac van Steen, Designer – Kevin Knight, Lighting Designer – Howard Hudson, Choreographer – Darren Royston, Philharmonia Orchestra, Garsington Opera Chorus & Circus Troupe (led by Jennifer Robinson) headed up by Professor James Moriarty who died at Reichenbach Falls. Supposedly. A Spirit Master who has embraced the dark side as a necromancer and Moriarty's executioner, Spencer is holding the men together. Mrs Kelly, an Earth magician, is the woman acting as his housekeeper/cook with an amazing ability to lie. Geoff the Elf is Spencer's primary henchman. Tony, Rudolfo, and Michael are an intimidating group of brothers. George is another member of the gang. Like nearly all great comic operas, The Bartered Bride is really not very funny. Curran’s production recognises the dark side of a work about outsiders and people who do not fit, and captures its cynicism. Marenka’s parents are persuaded by the marriage broker Kecal that she should wed the son of Tobias Micha, but the plot hinges on the fact that he has two sons, one disappeared and presumed dead. Bedřich Smetana was a Czech composer who pioneered the development of a musical style that became closely identified with his country's aspirations to independent statehood. He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride and for the symphonic cycle Má vlast ("My Homeland"), which portrays the history, legends and landscape of the composer's native Bohemia. It contains the famous symphonic poem "Vltava", also popularly known by its German name "Die Moldau" (in English, "The Moldau").Jac van Steen, in the pit, seems to have this music in his veins. The orchestral sound has a sort of rustic vigour, but infected with the precision one expects of the Philharmonia orchestra. The ensemble slips were due, I think, to the complexity of the chorus movement. But the choral singing itself is crisp and invigorating. One longs to join in. But I don’t think Smetana would be pleased. Nichols, Roger (2002). The Harlequin Years: Music in Paris, 1917-1929. Berkeley, Ca.: University of California Press. ISBN 0-520-23736-6. Even as they mourn the loss of their colleague, psychic Nan Killian, medium Sarah Lyon-White, and Elemental Masters John and Mary Watson must be vigilant, for members of Moriarty’s network are still at large. And their troubles are far from over: in a matter of weeks, two headless bodies of young brides wash up in major waterways. A couple who fears for their own recently-wedded daughter hires the group to investigate, but with each new body, the mystery only deepens. The Bartered Bride was not performed abroad again until after Smetana's death in 1884. It was staged by the Prague National Theatre company in Vienna, as part of the Vienna Music and Theatre Exhibition of 1892, where its favourable reception was the beginning of its worldwide popularity among opera audiences. [10] Since Czech was not widely spoken, international performances tended to be in German. The United States premiere took place at the Haymarket Theatre, Chicago, on 20 August 1893. [24] The opera was introduced to the Hamburg State Opera in 1894 by Gustav Mahler, then serving as its director; [25] in 1895 the Coburg Company brought its production to the Theatre Royal, Drury Lane in London. [26] In 1897, after his appointment as director of the Vienna State Opera, Mahler brought The Bartered Bride into the Vienna repertory, and conducted regular performances of the work between 1899 and 1907. [25] Mahler's enthusiasm for the work was such that he had incorporated a quote from the overture into the final movement of his First Symphony (1888). [25] When he became Director of the Metropolitan Opera in New York in 1907 he added the opera to its repertory. [25] The New York premiere, again in German, took place on 19 February 1909, and was warmly received. The New York Times commented on the excellence of the staging and musical characterisations, and paid particular tribute to "Mr. Mahler", whose master hand was in evidence throughout. Mahler chose to play the overture between acts 1 and 2, so that latecomers might hear it. [27] Modern revivals [ edit ]