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České operní libreto

100%

Smrcka J.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 1

41-61

EN

Conventional drama is also a subject area of literary research. It includes texts covering a whole range of genres, though not all are linked to the traditional medium of theatre let alone dramatic theatre. The operetta libretto is among the special genres. In common usage 'libretto' means the story the operetta is based on. The operetta libretto is a musical-dramatic genre that originated in France in the 1850s. From there it spread to other countries, particularly those of central Europe. In the twentieth century it began to stagnate until by the 1940s it was gradually giving way in the popular theatres to other genres. In the Czech cultural context the libretto developed from simple translations and adaptations of foreign works in the second half of the nineteenth century to strong home-grown works in the 1930s and 1940s but then experienced a radical downturn in the late 1940s and early 1950s. In a section devoted to a morphological analysis the article is concerned chiefly with the libretto of the 1930s and first half of the 1940s. This sort of libretto has three acts, the second of which comes to a climax in a dramatic finale and the third (usually shorter) has the form of a simple denouement. The setting was chosen to allow exotic or folk elements to be suitably linked with salon society. Authors of libretti put particular emphasis on comic effect, which alternated with the merely sentimental. In its dialogues the libretto was marked by a weak relationship between the spoken word and song lyrics (with the exception of the finale). The characters were not conceived as unique but as set types of people with conventional characteristics, particularly in behaviour, thinking, appearance, expression, and content of the spoken dialogues and sung texts. The article concludes that more research is needed on the operetta libretto, because it is a genre that exerted a wide-ranging influence on Czech culture in the nineteenth and twentieth centuries.

2

STAR PRIMA DONNAS AS LIEUX DE MÉMOIRE AT HOME AND ABROAD

100%

Heltai G.

World Literature Studies

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2016

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tom 8

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nr 4

64 – 76

EN

This paper examines the changing cultural meanings attached to three Hungarian prima donnas: Sári Fedák, Marika Rökk, and Franciska Gaál. All of them were locally and internationally recognized and reached the status of cultural icons during their long careers. Due to their charismatic personality and “eternal youth,” legendary prima donnas carried particular meanings and sometime became contested elements of cultural memory in changing socio-cultural contexts. Given their nationalized icon status, their stage appearances abroad often inspired politicized interpretations or had political consequences.

3

JÁN MÓRY A BRATISLAVSKÉ INSCENÁCIE JEHO OPERIET V PRVEJ POLOVICI 20. STOROČIA

88%

Bárdiová M.

Musicologica Slovaca et Europaea

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2006

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tom 23

117-140

EN

The composer and hotel owner Jan Mory (1892-1978) entered the scene of the Slovak National Theatre in Bratislava in 1932 as the well-known author of vocal, chamber, orchestral and musical-theatre works. They were successfully played at some concerts and the theatre stages in the twenties and the thirties of the 20th century, especially in Germany, Czech Republic and Slovakia. At that time the Slovak National Theatre was going through complicated development in the sphere of financing, organization, professional and national problems. In the effort to achieve values of European music, operetta genre was underestimated and professional sphere took it into consideration only for its popularity in audience and financial addition. The operetta 'Zimny romanik' (The Winter Story) by Jan Mory was the first one performed in Slovak National Theatre from the native author (1932). After this his historical 'song-play' La Valliere (1935), operetta 'Slecna vdova' (Miss Widow) (1940) and revised operetta by F. Zell and F. Genee 'Namorny kadet' (The Naval Cadet) (1943) were followed. The success of his works was also achieved by excellent protagonists in the main roles. Jan Mory successfully established himself at the most prestigious Slovak professional scene as a major of Slovak operetta in the strong home and foreign rivalry.

4

Węgierska Operetka. Rola muzyki Piotra Salabera w spektaklu Andrzeja Bubienia w Nemzeti Szinhaz (Teatrze Narodowym) w Budapeszci

75%

Demby Ł.

Kwartalnik Filozoficzny

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2017

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tom 45

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nr 4

211-219

EN

Łucja Demby’s article considers the performance produced at the Nemzeti Színház (National Theatre) in Budapest, based on Witold Gombrowicz’s drama Operetta and created by two Polish artists: the director, Andrzej Bubień, and the composer, Piotr Salaber. The author’s primary focus is the function of music in this production. Although in his drama Gombrowicz referred to the operetta as a music genre, he was not really concerned about the musical setting of its prospective stage productions. He viewed operetta as a symbol of the old world order, a caricatured image of the obsolete form. The grotesque was the form of art that interested him most. Their collaboration with the renowned Hungarian theatre enabled the Polish artists to approach Gombrowicz’s drama in a modern way. This was partly due to the fact that in Hungary the genre of grotesque has not developed as much as it has in Poland, whereas Viennese operetta has got a long tradition. The article highlights the way in which the music of Piotr Salaber, which is present during the whole performance, tells about the destruction of the old world and illustrates the deconstruction of Gombrowicz’s form. The Budapest National Theatre production was presented at the 11th International Gombrowicz Festival in Radom in October 2014 and won the Grand Prix.

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K OTÁZKE RODOVÝCH ŠTÚDIÍ: ŽENY V OPERNEJ A OPERETNEJ PREVÁDZKE BRATISLAVSKÉHO MESTSKÉHO DIVADLA (1886 – 1920)

63%

Lengová J.

Musicologica Slovaca

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2014

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tom 5 (31)

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nr 1

66 – 87

EN

In the light of gender studies, this paper examines how female singers and composers exercised their professions, and their social and artistic status, in the Bratislava City Theatre during the years 1886 – 1920. The source base is a study of the daily newspapers Preßburger Zeitung and Westungarischer Grenzbote. From what the theatre critics wrote, it is concluded that both men and women could exercise the profession of singer with comparable success, with decisive criterion for evaluation being the singer’s performance and his/her creation of the theatrical role. A more detailed description is given of the guest performances of the singers Lujza Blaha (1850 – 1926) and Irma de Spányi (1861 – 1932). There were long-lasting prejudices against women composers. The positive reception of the premiere of the now lost opera Tamaro, by the Bratislava composer Countess Alexandrine Esterházy-Rossi, in the Bratislava Theatre (1907), is presented in the wider context of female musical creativity and contemporary domestic opera production, and also as a proof of the gradual transformation of older conservative views.