Wyniki wyszukiwania - Biblioteka Nauki

1

Turandot or Liu after Puccini

100%

Cyz T.

Konteksty - Polska Sztuka Ludowa

|

2007

|

tom 61

|

nr 3-4(278-279)

236-239

EN

The text of Turandot or Liu is a painstaking attempt at deciphering the opera by Giacomo Puccini. The author interpreted this work within the perspective of the composer's oeuvre (Turandot is his last, unfinished opera - Puccini, who suffered from cancer of the larynx, died while writing it), his life (Liu, the second most important female protagonist, is an homage paid by the composer to his servant, Doria, who committed suicide after his wife accused her of having an affair with him), the period (the end of the first world war, the birth of Italian fascism), music in general (the emergence of the twentieth-century avantgarde), other works about the Chinese princess (Gozzi, Reinhardt, Busoni, Koch, von Einem, Vakhtangov), the spectacle by David Pountney and Valeriy Gergiev (Salzburg, 2002), the two endings of the opera (by Franco Alfano from 1926 and by Luciano Berio), and the reflections of Slavoj Zizek. 'Zizek wrote that although Liu's suicide cannot be eradicated, it must remain 'deprived of an effect', if Calaf and Turandot are to live as if nothing happened. As if nothing happened... Is that possible? And was it possible for Puccini who never completed his own work?'

2

Mozart v Čechách

80%

Hilmera J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 2

167-180

EN

The study is the first attempt to map putting on stage of Mozart's operas and singspiels in Bohemia from the late 1780s till 1900 outside Prague. It focuses on theatre troupes that included Mozart's pieces in their repertory, on their directors and singers, as well as the places, where they performed. The information is drawn from such sources as archival official documents, collections of theatre posters in archive and museum collections, notes in contemporary press, contemporary theatre almanach, etc. As much as 106 performances of Mozart's scenical pieces were found, of which the most frequent were 'Don Giovanni' (35×), 'Die Zauberflöte' (32×) and 'Le nozze di Figaro' (25×). With regard to the fact that the article was written within a larger research looking closely at theatre activity in the Bohemian regions in the nineteenth century, the author is convinced that the list of locations, where professional execution of Mozart's opera could have taken place, is complete. Less guaranteed (especially in the period until the mid-nineteenth century) is the completeness of the titles performed, and their rendering - there could have been more of these.

3

TIME IN OPERA

80%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

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2005

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tom 53

|

nr 4

356-360

EN

The study deals with time in opera as one of the most important categories of theatre and also of drama. It stems from the comparison of classical definitions of aesthetics and the conception of temporality in theatre written by Patrice Pavis. He is trying to answer the question, which peculiarities of music contribute to the temporality of opera work. Through practical models of several eminent Slovak theatrical opera stagings he is exploring how the time dimension of a work of art manifests itself in modern theatre.

4

BALADICKÉ TENDENCIE V OPERNÝCH DIELACH SLOVENSKÝCH SKLADATEĽOV 20. STOROČIA

80%

Ščepán M.

Slovenské divadlo (Slovak Theatre)

|

2022

|

tom 70

|

nr 2

109 - 131

EN

The notion of being balladic is primarily linked to the idea of an atmosphere that is the sum of tragic, dramatic, and lyrical elements. The piercing atmosphere of balladic poetry and prose inspired several composers, and the balladic phenomenon was gradually adopted not only into short vocal genres, but also into large vocal-instrumental ones, including operas. In the course of the twentieth century, several operas were composed in Slovakia, which may be termed balladic due to their specific features. This study focuses on six Slovak operas. It examines the main inspiration factors that led their composers to adopt balladic subjects. It also introduces the motifs in the original literary works that contribute to creating this phenomenon and discusses what interventions and deviations were made with respect to the original literary model while writing the opera libretto and in what way the composers worked while composing the music to achieve the set balladic character and the musical characterization of the characters and the plot.

5

PŮSOBENÍ MILOŠE WASSERBAUERA VE SLOVENSKÉM NÁRODNÍM DIVADLE V BRATISLAVĚ V PADESÁTÝCH LETECH A NA ZAČÁTKU ŠEDESÁTÝCH LET 20. STOLETÍ

80%

Havlíčková Kysová Š.

Slovenské divadlo (Slovak Theatre)

|

2018

|

tom 66

|

nr 4

362 – 379

EN

The article examines the work of opera director Miloš Wasserbauer during the 50s and at the beginning of the 60s of the 20th century in the Slovak National Theatre. The author analyses Wasserbauer’s approach to the productions and Slovak staging tradition from the perspective of the Czech director and the critical reflection of the performances. He focuses on the staging of new Slovak operas Ján Cikker’s Juro Jánošík and Beg Bajazid, and Eugen Suchoň’s Svätopluk. Special attention is paid to the conceptualisation of Slovak national feeling in the corpus of archive materials.

6

BORIS GODUNOV: MUSORGSKIJ VS. PUŠKIN

80%

Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

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2014

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tom 62

|

nr 1

49 - 68

EN

The fact that the existence of several variants of Pushkin's drama was caused by censorship often wrongly draws a parallel with Mussorgsky's opera – as if its variability was based on external factors. Dunning compared the two versions of text written by Pushkin, while Taruskin the two existing opera versions. The author of this study has decided to analyse Mussorgsky's Boris Godunov in relation to Pushkin's text corpus connected with the topic. The analysis is based on the historical and the study of religions approaches. What obstacles did Mussorgsky have to overcome when adapting Pushkin for opera genre? As the ideological polarization between supporters and opponents to the union of churches could be expressed just verbally, composer had no choice but transpose historical tensions into the speech of music – into the ritual opposition Latin/Byzantine. Through the enigmatic character of Rangoni, however, Mussorgsky stays true to Pushkin's philosophy of history (so convincingly expressed in dramatic character of Dimitri) and refers to the historical paradigm, which offers a real alternative to unification of Christians: The Union of Florence, where the communion with the bishop of Rome did not contradict the adherence to the Byzantine rite.

7

FILM IN OPERA. THE EXAMPLE OF BOHUSLAV MARTINU´S OPERA THREE WISHES (Film v opere. Na priklade opery Bohuslava Martinu Tri priania)

80%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

|

2010

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tom 58

|

nr 4

565-570

EN

The paper describes the effect of a new media (film) on the dramaturgy of Martinu's opera Three Wishes and thinks on the potential of film, which puts to use in the staging of Martinu's opera piece. The opera Three Wishes is not only a reaction to the artistic and dramaturgic potential of film, but also a reaction to the new artistic movements. The opera librettist, Georges Ribemont-Dessaignes, was a follower of dadaism and the libretto to this opera has also dadaistic dimension. Martinu and his librettist oppose conventional dramatics. This feature can be found also in his music. In his opera Three Wishes, Martinu refuses the romantic concept of emotionalism and the gradation of dynamism of the latter half of the 19th century. Each of the staging of Three Wishes captures the issue of opera film in a different way. Evald Schorm, director of the world premiere of this opera piece in Brno, in 1971 (forty-two years after the opera was composed), produced a film dimension of the opera along the lines of Chaplin's grotesque. The last staging of Three Wishes by the Czech director Jiri Nekvasil in Volkstheater Rostock, in 2007, was produced as a colourful theatre collage. The opera Three Wishes is a multilayer entertaining musical theatre. Its content is close to classical musical.

8

PETER KONWITSCHNY, OPERA AND THEATRE DIRECTOR SHAPING THE PROFILE OF THE BRATISLAVA OPERA OF A NEW MILLENIUM

80%

Mojžišová M.

Slovenské divadlo (Slovak Theatre)

|

2017

|

tom 65

|

nr 3

266 – 282

EN

The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The author bases herself on an analysis of the productions of Eugen Onegin (2005), by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013), Janáček‘s Vec Makropulos (2015), and Halévy‘s Židovka (2017), all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The author makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.

9

SÚČASNÁ OPERNÁ TVORBA V REPERTOÁRI SLOVENSKÉHO NÁRODNÉHO DIVADLA V 60. ROKOCH 20. STOROČIA

80%

Mojžišová M.

Slovenské divadlo (Slovak Theatre)

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2018

|

tom 66

|

nr 1

5 - 22

EN

The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.

10

SÚDOBÁ OPERNÁ TVORBA V REPERTOÁRI SLOVENSKÉHO NÁRODNÉHO DIVADLA 1920 – 1938

80%

Mojžišová M.

Slovenské divadlo (Slovak Theatre)

|

2015

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tom 63

|

nr 4

357 - 376

EN

The study examines the introduction of the 20th-century opera production to the Slovak National Theatre Opera in 1920–1938. It comes to a finding that it constituted a quantitatively significant part, especially in Karel Nedbal’s era (1928–1938). However, a qualitative analysis reveals that only some of the produced titles were successfully time-tested and included into the key opera repertoire, today referred to as the 20th-century opera classics. These included Leoš Janáček and Richard Strauss’s operas and the profile opuses of the 20th-century opera avant-garde (for example, Sergei Prokofiev’s The Love for Three Oranges, or Dmitri Shostakovich’s Lady Macbeth of Mtsensk). On the other hand, the Slovak National Theatre ignored the classic opuses of Impressionism (Debussy, Ravel, Falla), Neoclassicism (Stravinsky, Hindemith), or the Second Viennese School (Schönberg, Berg) and their successors. However, it produced several titles which are nowadays regarded as historical artefacts of the period, which had no further stage life. The study also considers rarely produced or no longer produced plays by Czech and Slovak authors and opuses which fulfilled rather extra-artistic (social) roles in their times (for example, works by authors from allied countries), that means productions which have been more or less overlooked by researchers so far.

11

MIMESIS AND FICTION IN OPERA SERIES USING THE EXAMPLE OF HANDEL'S 'ALCINA'

80%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

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2007

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tom 55

|

nr 4

582-590

EN

Georg Friedrich Handel is in the opera 'Alcina' in line with contemporary ideas pointing out on chaos and untidiness caused by passions which could lead even to the loss of identity. At the same time his opera is by its exotic and fairy tale dimension in a specific way problematizing baroque oscillation between the world of artistic mimesis and the world of artistic fiction.

12

KONTROVERZIE OPERY MAI 68 VO FILOZOFICKÝCH KONTEXTOCH AKTUÁLNEJ OPERNEJ TVORBY

80%

Cseres J.

Slovenské divadlo (Slovak Theatre)

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2018

|

tom 66

|

nr 2

195 – 207

EN

In his paper, the author reveals the poetical controversies of the Mai 68 opera (2008) by Petr Kofroň, Zdenek Plachý and Jiří Šimáček as well as its controversial reception by Czech opera critics. Comparing the poetical principles of the mentioned authors with those applied in stage works by Morton Feldman, Martin Burlas and John Zorn, and arguing with the philosophical concepts of Gilles Deleuze and Félix Guattari and actual concepts of postmodern aesthetics, he outlines the poetical features of current opera production in the context of actual philosophical thought and intermedia aesthetics. In this broader framework, in spite of some defects in staging, he considers Mai 68 a very real and influential contribution to the opera world in Czech Republic and Slovakia, comparable with the contemporary opera works worldwide.

13

JAN CIKKER´S OPERA WORKS AND THEIR SOCIAL BACKGROUND (Operna tvorba Jana Cikkera a jej spolocenske pozadie)

80%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

|

2011

|

tom 59

|

nr 2

77-83

EN

Cikker's opera works are distinctly close to the European opera of the twentieth century. In his operas, Cikker combined the ideals of national music and national opera with the ideals of the 20th century new opera. The paper analyses the Cikker's development as an opera composer, from the folklore and national music, through the existential, social and ideological themes of his operas to the image of grotesque or quiet resignation. During the Iron Curtain period, Cikker's opera works served as a cultural bridge between East and West but also as a humanizing factor, bringing the important artistic and ethical message.

14

Z repertoáru Vlastenského divadla v Praze

80%

Sochorova L.

Česká literatura (Czech Literature)

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2005

|

tom 53

|

nr 2

153-187

EN

This contribution seeks to characterize and delimit the likely period of the writing of a late Czech adaptation of the story of 'Don Juan'. The Czech version is clearly influenced by the French Neo-Classical tradition and the tradition of the renowned commedia dell'arte of eighteenth-century Italy. The text of the earliest-known Czech version of this sentimental morality play about a Spanish libertine and atheist has survived in only an incomplete version. The work is obviously by an educated author, who used in it elements and motifs of the Baroque theatre tradition, the homiletics of the period, and the tradition of Baroque music and song, as well as the influence of professional theatre production of the Late Enlightenment. The combining of these diverse approaches and devices of drama and theatre, including the remarkable language of the drama, with its numerous bits of dialect, demonstrate the late urban provenance of this idiosyncratic Czech adaptation and its 'second life' in east Bohemia. The character of the sentimental, moralizing text, which has hitherto been considered part of the eighteenth-century Bohemian puppet shows, but also determined the inclusion of the play in the repertoire of the professional Prague Czech-German 'Vlastenské divadlo U Hybernu', and the apparently marginal mention of 'hrabenka Binos' (Countess Binos) makes it possible to date the place and time of the writing of this late Czech morality play as being Prague sometime in 1795-96.

15

GOING BEYOND THE NORM OF THE RECITATIVE IN ITALIAN 'DRAMMA PER MUSICA' 1600-1640

80%

Szweykowski Z. M.

Muzyka

|

2006

|

tom 51

|

nr 3(202)

3-26

EN

In the Italian 'dramma per musica' 1600-40, the basic means of producing melodic contour was the recitative. It comprised about eighty percent of the musical course of the composition. From the beginning of the genre's existence, composers had been introducing fragments consisting of a few bars which, being contradictory to the premises of the genre of recitative, disturbed its course. In musicological literature such fragments are sometimes called 'arioso', although one does not encounter such a description used as a term in the Italian 'dramma per musica' in the seventeenth century. However, those fragments which disturb the course of the recitative contribute towards the formation of features of the future arioso. Additionally, they result in an enrichment of the effects of the musical language of comic heroes. The process comes to be initiated in the period under discussion. The present article (which is a fragment of a book in preparation about the beginnings of 'dramma per musica' in Italy) presents its features on the basis of a number of examples. The disturbances in the course of the recitative are not motivated by purely musical considerations and introduced in freely chosen fragments, but in places where this is justified by the dramatic action. Their melodics is often little different from the recitative proper (frequent repetitions of a sound); in consecutive decades they become more differentiated. In general they are treated syllabically, but both little grazie and gradually increasingly expanded coloraturas are being introduced. Repetition of words not required by the rhetoric but on purely musical grounds becomes admissible. At times melodics is linked with triple metre or mobile basso continuo. This last is treated in two ways; at the beginning of the century it moves in longer values, not being very different from the basso continuo of the recitative. However, more typical here is the mobile basso continuo, differentiated both in terms of rhythm and melody. Going beyond the norms of the recitative, the metre in the fragments under discussion may be both duple and triple. In the latter case, the basso continuo may rhythmically double the vocal part

16

COMPONENTS OF INTERCULTURALITY IN OPERA TRILOGY OF PORTRAITS BY PHILIP GLASS (Prvky interkulturality v opernej trilogii portretov Philipa Glassa)

80%

Haskova K.

Slovenské divadlo (Slovak Theatre)

|

2009

|

tom 57

|

nr 1

40-45

EN

Connection of trends from different cultures takes great place in Philip Glass' creation and is one of the basic pillars to create opera art products. We can find some components of interculturality in opera trilogy of portraits by this composer. The components of Indian theatre Kathakali are the most expressive in this trilogy. Between the most expressive components of kathakali belong mudras (hands motion, body position), which is shown up in some trilogy performances of portraits, further character of narrator - speaker and some musical components, especially expressive using of expanded palette of drums. Of all three operas, components of kathakali are especially in opera Akhnaten and Satyagraha. From the view of musical arrangement there are noticeable expressive components apart from Europe, especially Indian influences, in Glass composition language. Primarily we can find these influences in metro rhythm diameter of creation of art product and also in all musical actions (music as meditation, music as a process, etc.)

17

Bílá paní pernštejnská na operní scéně. Antonín Emil Titl: Die Burgfrau (1832)

80%

Trojan J.

Hudební věda (Musicology)

|

2009

|

tom 46

|

nr 1-2

91-116

EN

The opera Die Burgfrau (Brno 1832) is based on the local folk tale of the White Lady, a friendly ghost, who once used to reside in the castle of Pernstejn. In the first half of the nineteenth century pieces as such were shown on stage of the City Theatre at the Zelny trh in Brno, often of Singspiel quality. The opera of the White Lady surpasses all of them in structure and thorough elaboration. In spite of their young age, the authors represented first-class among contemporary artists in Moravia. The author of the libretto Antonin Bocek (1802-1847) was a known Moravian historian, whose premature death prevented him to finish his life-work. When composing the opera, the composer Antonin Emil Titl (1809-1882) was double-bass player in the Brno theatre; later, he went on to become bandmaster in Vienna. The opera combines elements of the tale with historical events. In part, it presents historical figures, and even gives the date of 1545. The ghost of the White Lady interferes in the events, in which love wins over hatred, and evil is punished. The opera met with warm welcome when first performed in Brno, and was later shown in Olomouc as well. However, it did not make it to the Vienna stage.

18

BRANISLAV KRIŠKA A JEHO PRÍNOS DO OPERNO-TEORETICKÉHO DISKURZU

70%

Madunická K.

Slovenské divadlo (Slovak Theatre)

|

2023

|

tom 71

|

nr 2

134 – 147

EN

The paper deals with theoretical discourse in the field of opera in Slovakia. It focuses on the director Branislav Kriška, whom musicologists and theatrologist consider to be the most significant and, from the aspect of the aesthetic formation of the musical theatrical art, the most influential Slovak opera director of the latter half of the twentieth century. His theoretical articles published in specialized journals and programme booklets and his monograph on Giacomo Puccini, operas in the verismo style, and their staging practices, are not only valuable materials for understanding the director’s staging signature but, in the context of twentieth-century Slovak opera theatre, they represent a unique theoretical activity of a practicing theatre maker. Kriška drew on Walter Felsenstein’s concept of stage performance and his understanding of musical theatre as a musical dramatic scenic art, in which the staging and the vocal performance elements are complementary and equal.

19

DECOMPOSITION WITH NEW TECHNOLOGIES IN CONTEMPORARY SLOVAK THEATRE PRODUCTIONS

70%

Hrbek M.

Slovenské divadlo (Slovak Theatre)

|

2021

|

tom 69

|

nr 3

277 – 289

EN

This case study focuses on one of the principles of theatre decomposition and illustrates it with the analysis of the staging of the contemporary opera Muž v skafandri [Man in a Spacesuit, 2020] of the composer and librettist Miroslav Tóth, directed by Jan Komárek. The aim of this study is to zoom in on contemporary cross-media and cross-genre trends in Slovak theatre productions that use new technologies, by which theatre makers intervene into the composition of the staging by deconstructing its means of expression. The scenes of the productions are fragmentized; the theatre makers break them down into their basic components to find new possibilities and meanings, while the recipients perceive these associatively.

20

REFLEXIA OPERY V MEDZIVOJNOVOM OBDOBÍ V BRATISLAVE V REFERÁTOCH ANTONÍNA HOŘEJŠA

70%

Laslavíková J.

Slovenské divadlo (Slovak Theatre)

|

2017

|

tom 65

|

nr 2

142 – 157

EN

Antonín Hořejš was one of the most prominent opera critics working in Bratislava in the inter-war period. With his distinctive views, he often stood in sharp opposition to traditionalist efforts, viewing them as a threat to the artistic growth of modern Slovak culture. This year’s fiftieth anniversary of his death is a good occasion for an assessment of his contribution to musical theatre, which he followed from the establishment of the Slovak National Theatre to the beginning of the Second World War.