Smetana: The Bartered Bride

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There is a general acceptance of Vašek’s immaturity when he turns up as a dancing bear and Jeník makes up with his father and is able to marry his beloved. As often happens with opera it’s not the greatest of stories, but the music and this production are of such high quality that it doesn’t really matter.

The mood of the entire opera is set by the overture, a concert piece in its own right, which Tyrrell describes as "a tour de force of the genre, wonderfully spirited & wonderfully crafted." Tyrrell draws attention to several of its striking features – its extended string fugato, climactic tutti and prominent syncopations. [10] The overture does not contain many of the opera's later themes: biographer Brian Large compares it to Mozart's overtures to The Marriage of Figaro and The Magic Flute, in establishing a general mood. [40] It is followed immediately by an extended orchestral prelude, for which Smetana adapted part of his 1849 piano work Wedding Scenes, adding special effects such as bagpipe imitations. [10] [41] Prodaná Nevěsta; 팔려간 신부; Проданная невеста; La Fiancée vendue; La novia vendida; Satılmış Nişanlı; La núvia venuda; Myyty morsian; La sposa venduta; Prodaná nevěsta; Die verkaufte Braut; 売られた花嫁; Prodana nevesta; Продадена невеста; Brudköpet; Den solgte brud; Cô dâu bị bán đi; Prodana nevjesta; Վաճառված հարսնացուն; Sprzedana narzeczona; La Promesa venduda; הכלה המכורה; Az eladott menyasszony; Продана наречена; Η ανταλλαγμένη νύφη Holden, Amanda; Kenyon, Nicholas; Walsh, Stephen, eds. (1993). The Viking Opera Guide. London: Viking. p. 989. ISBN 0-670-81292-7. Kecal, who fears for his share of the dowry, tries to persuade Jeník to abandon Mařenka. Jeník agrees against an indemnity of 300 guldens and under the condition that Mařenka may only marry the son of the peasant Mícha. Kecal, who is not aware that Mícha has got another son, accepts. When Mařenka is informed of the deal, Jeník no longer exists for her. At last he tells her about his identity and the game he played with Kecal, but she only believes him when Mícha, too, recognizes Jeník to be his son and embraces him.

Sayer, Derek (1998). The Coasts of Bohemia: A Czech History. Princeton University Press. ISBN 0-691-05760-5. The English wordings are taken from Large 1970, Appendix C: "The Genesis of The Bartered Bride", pp.399–408 Paul Curran’s 2019 The Bartered Bride, set in late 1950s Britain, makes a welcome return to the Wormsley Estate in Rosie Purdie’s likeable revival. With a new cast, this folksy happy-ever-after rom-com continues to enchant and amuse. Aside from the opera’s attractive music, the universal appeal of the work (premiered in 1866 and first heard in Britain in 1895) depends on local character and small incident rather than on any broadly dramatic element which, with the best will in the world, is fairly minimal – boy loves girl whose parents have arranged for her to marry another, yet all comes right in the end. This production is enlivened more by the colourful and diverting characterisations from within the chorus of villagers (almost a template for Benjamin Britten’s Albert Herring) than the principal singers who, good as they are, bring uneven performances with few moments that either startle the ear or moisten the eye. The scene change between Act I’s church hall and Act II’s pub is also notable because, with the cast being heavily involved in it, it is hard to know where performers end and stage hands begin. It includes some men continuing to dance around the maypole as a way of wrapping the ribbons tight before carrying it off, and it really looks as if workmen are taking up the lino in the kitchen. The pub paints a picture of 1950s English village life as people play darts, and patrons head to and emerge from the ‘ladies’ and ‘gents’ throughout the scene. When Vašek sings ‘Ma… ma… ma… matička’ everyone moves to the other side of the room within seconds, and it is noticeable how the women tend to stay in groups, which is realistic since many may not have ventured into a pub alone in the ’50s.

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. Set in a country village and with realistic characters, it tells the story of how, after a late surprise revelation, true love prevails over the combined efforts of ambitious parents and a scheming marriage broker. Lesueur, François (22 October 2008). "Enfin par la grande porte: La Fiancée vendue". ForumOpera.com . Retrieved 30 November 2015. (in French) The energy and dynamism cannot be faulted, as every chorus member is handed a unique character that they maintain throughout the evening. Kevin Knight’s sets ensure that when it is their turn to take centre stage the results are overwhelmingly joyous, but when their presence is to add context they do not excessively distract from the central action. Act I sees the church hall comprise a main area, with a largely cut away proscenium stage at one end, and a small kitchen, separated by a door, at the other. This enables Mařenka’s lengthy Act I scene with Jeník to take place in the latter more intimate space, while workmen tinker with spotlights in the main hall. All of the chorus members are involved in the dancing, and the Polka that ends Act I becomes a maypole routine that is as impressive for its design as its obvious exuberance. There are also some beautiful touches as an upset Mařenka leaves the dance, and everyone rushes towards her for spoiling it before realising they have unbalanced the maypole and it is on the verge of collapse. 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.

Smetana's friend Josef Srb-Debrnov, who was unable to attend the performance himself, canvassed opinion from members of the audience as they emerged. "One praised it, another shook his head, and one well-known musician ... said to me: 'That's no comic opera; it won't do. The opening chorus is fine but I don't care for the rest.'" [9] Josef Krejčí, a member of the panel that had judged Harrach's opera competition, called the work a failure "that would never hold its own." [17] 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.

By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental collapse early in 1884 led to his incarceration in an asylum and subsequent death. Smetana's reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana's works are in the international repertory, and most foreign commentators tend to regard Antonín Dvořák as a more significant Czech composer. Vašek expresses his confusions in a short, sad song ("I cannot get it out of my head"), but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a "real Indian" sword swallower, and a dancing bear. A rapid folk-dance, the skočná, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the "Indian" rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words ("We'll make a pretty thing out of you"). 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.Press comment was less critical; nevertheless, after one more performance the opera was withdrawn. Shortly afterwards the Provisional Theatre temporarily closed its doors, as the threat of war drew closer to Prague. [17] Restructure [ edit ] 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! The Bartered Bride 20 June 2008". Národní divlado (National Theatre, Prague). June 2008. Archived from the original on 27 September 2011 . Retrieved 21 June 2009. Vašek expresses his confusions in a short, sad song ("I can't get it out of my head"), but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a "real Indian" sword swallower, and a dancing bear. A rapid folk-dance, the skočná, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the "Indian" rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words ("We'll make a pretty thing out of you"). 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 ]

Think of John Philip Sousa, for example. At home in America, marches such as "The Stars and Stripes Forever" stir deep, patriotic sentiment. Overseas, those same pieces may seem little more than rousing diversions.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.