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The Operas of Antonín Dvořák

Published online by Cambridge University Press:  01 January 1957

John Clapham
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Extract

In November 1862 the Provisional Theatre was opened in Prague for the performance of Czech plays and operas, an event which provided a strong stimulus to native composers. Besides the revival of František Škroup's The Tinker, the oldest of Czech operas, new operas by Skuherský, Šebor, J. N. Škroup, Blodek, Karel Bendl, Vojáček, Rozkošný, and by the conductor of the theatre, Smetana, were performed during the first seven years. As principal violist in the orchestra, Dvořák took part in all these performances, and it was only natural that he also wished to try his hand at opera composition. The surprise is that he did not do so until 1870. When he made a start there was still no Czech operatic tradition, but Smetana, whose Brandenburgers in Bohemia, The Bartered Bride and Dalibor had been performed, was well on the way towards creating one.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 84 , 1957 , pp. 55 - 69
Copyright
Copyright © Royal Musical Association, 1957

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References

1 Otakar Šourek, The Orchestral Works of Antonía Dvořák, Prague, 1956 p. 278, ex. 3.Google Scholar

2 Šourek, Život a dílo Antonína Dvořáka, I, 3rd. Ed., Prague, 1954, p. 124.Google Scholar

3 Jarmil Burghauser, Král a uhlíř, Prague, 1957, pp. 10 f.Google Scholar

4 Šourek, Život a dílo, I, p. 252.Google Scholar

5 Ibid., p. 299.Google Scholar

6 Ibid., II, 3rd Ed., Prague, 1955, p. 27. Fibich's opera, Šarka, uses a different version of the legend.Google Scholar

7 Viktor Fischl, Antonín Dvoták: his achievement, London, 1943, p. 153.Google Scholar

8 Schuch performed The Cunning Peasant at Dresden on 24 October, 1882. Jauner of the Vienna Opera was interested in Vanda, but the work was not performed.Google Scholar

9 Šourek, Život a dílo, II, p. 297.Google Scholar

10 Vocal score, Prague: Orbis, 1952, p. 81.Google Scholar

11 Jirka's theme is similar to the Ctirad motif in the Šarka sketches.Google Scholar

12 Alec Robertson, Dvořák, London, 1945, p. 140. The author of this book was unable to examine the complete vocal score.Google Scholar

13 Život a dílo, IV, 2nd Ed., Prague, 1957, p. 208.Google Scholar