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2 Slovenské divadlo (Slovak Theatre)

2 Blaho V.

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SOME NOTES ON OPERA VERISM

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Blaho V.

Slovenské divadlo (Slovak Theatre)

2007

tom 55

nr 3

385-397

A revival of interest in opera of Italian verism can be found worldwide nowadays. Alongside with the classic veristic operas - Mascagni's 'Cavalleria rusticana' and Leoncavallo's 'Pagliacci', postulates of verism within a sense of a true reflection of the vivid reality are the best satisfied in two opera transcriptions of Murger's 'Scenes de la Vie de Boheme' (by Puccini and Leoncavallo) which in all its difference are symbolizing a flush of living full of freedom, love and youth, and which are except of a love life reflecting also an everyday reality. They are similarly like other veristic operas bringing an increase of opera performance effect. In the music area they are rising the meaning of an orchestra, in more detail are characterizing the story scene, creating a conversation style and prefering an extrovert expressive singing. With regard to music, the verists were influenced both by Wagner and by French opera (Massenet), and with the exception of Puccini and Mascagni, in the course of their lives their composer's autograph did not progress very much. The outermost poles of verism are represented by Cilea's 'Adriana le Couvrer' and Montemezzi's 'L'amore dei tre re'. The prime position in popularisation of verism in Slovakia is played by Banska Bystrica Opera.

METAMORPHOSES OF MANON

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Blaho V.

Slovenské divadlo (Slovak Theatre)

2008

tom 56

nr 1

38-51

The author in his study deals with the opera fates of a tale which was published as the seventh part of memoires of Abbe Prevost 'Manon Lescaut' (Histoire du chevalier des Grieux et de Manon Lescaut). It is interesting that the story of Manon and her knight did not specially impressed dramatists, on the contrary - it has landed and up to these days is seated on the throne of the musical theatre stages. The very first event was a ballet by Fromenthal Halevy, after it Scribe wrote a libretto for a composer Daniel Auber for an opera (1856), but until now the story has been alive in the opera stage mainly thanks to Massenet´s 'Manon' (1884) and Puccini 'Manon Lescaut' (1893). The author studies the difference in approach to the topic and compares the artistic adaptation of the same inspiration by two great personalities. He characterizes in detail both works of art, and subsequently deals with their theatrical fate - while alongside with Slovak staging - he doesn't neglect a wider European space, and describes meaningful staging of Puccini opera abroad (director Robert Carsen made a production of 'Manon Lescaut' over the course of a few years on Royal Flamisch Opera in Antverps, in Vienna State Opera), or the production of Massenet's 'Manon' in Bratislava (1980). He becomes more familiar with the background of Vienna staging by Jean- Pierre Ponell from 1983 ( with the Slovak singer Edita Gruber in the main role), or the Paris staging by Gilbert Deflo (with Renee Fleming) from 2001. A traditionally and contemporary true staging of 'Manon' was attemped in the theatre of Milan Teatro la Scala also by a director Nicolas Joel in 2006. The fact that 'Manon' can be produced also by using other means than pieta is proven by two staging from 2007: one is from Vienna (directed by Andrej Serban), one from Berlin (directed by Vincent Paterson). In both cases it is about the so called updated understanding - meaning transferring the period closer to current times.