I MELODRAMMI DI DVORAK

Speranza

 

The eleven operas by Dvorak. Something very basic about Dvorak should be said first.

 

I. IL RE ALFREDO: melodramma eroico in tre atti" (1870), su libretto di K. Korner. The opera received its premiere at the Teatro dell’opera, Olomouc, only on 10 dec. 1938, but a bit on Dvorak's operatic training won't hurt: Dvorak had played viola for many years in pit orchestras in Prague (Estates Theatre from 1857 until 1859 while a student, then from 1862 until 1871 at the Provisional Theatre). He thus had direct experience of a wide range of operas by Mozart, Weber, Rossini, Lortzing, Verdi, Wagner and Smetana. "IL RE ALFREDO" was Dvorak’s first opera out of ten that he finished -- the others being: 2) “King and Charcoal Burner” 3) “The Stubborn Lovers”, 4) “Vanda, ossia la regina di Polonia”, 5) “The Cunning Peasant”, 6) “Dimitri Ivanovich”, 7) “Il Giacobino”, 8) “Il diavolo e Catalina”, 9) “Rusalka; ossia la ninfa del Bosco”, and 10) “Rinaldo ed Armida”. The opera deals with the reign of King Alfred, in England. The topic had been dealt with in previous opera. Notably in England, with “Rule, Britannia, Britannia, rule the waves!”. The Dramatis Personae are Il re Alfredo, Alvina, Dorset (tenor), Sivard, Gothron, a Dane, Harald tenor, Rovena. Cfr. Arne, "IL RE ALFREDO" that gave us "Rule, Britannia". There is a magnificent statue of King Alfred, open air, in Winchester. In Act I, in England, in 878, the Danish army, led by PRINCIPE ARALDO and Principe Gothron, have set up camp after a victorious battle against the English and they are now preparing to celebrate. Gothron is the only one not sharing in the festivities. Te night before, the English RE ALFREDO  appeared to him in a dream wearing a crown of victory. In the meantime, HARALDO arrives with his retinue and a group of British captives, among them Alfred’s betrothed ALVINA whom HARALDO immediately begins to court. He tries in vain to gain Alvina's favour, and his threats also fall on deaf ears. Alvina rejects him, preferring to be imprisoned instead. In Act II, IL RE ALFREDO discovers from his servant that his army has been overcome and that Alvina is now a prisoner in the hands of the enemy. IL RE ALFREDO decides to get inside the Danish camp disguised as a harp player. On his way into the encampment IL RE ALFREDO finds himself at the castle tower where Alvina is imprisoned, and he hears her aria coming from a window. IL RE ALFREDO promises ALVINA that he will come to rescue her very soon. Suddenly IL RE ALFREDO  is surprised by Gothron’s men who drag the alleged harper into the camp. Meanwhile, Alvina has managed to escape from prison and arrives at the Danish camp just when IL RE ALFREDO discloses his true identity. The company is taken by surprise and the couple take this opportunity to flee the Danish camp, while Gothron shivers with terror as he remembers his dream. In Act III, Alvina comes upon a group of British soldiers and tells them that the king is alive and already on his way to meet his company. After urging them to go after their sovereign, ALVINA is surprised by Harald and taken captive once again. In the prison where the British captives are held, he makes amorous advances towards ALVINA once again, but she refuses him, as before. At that moment, however, Alfred’s victorious army comes charging into the camp. Harald takes his own life, and IL RE ALFREDO and Alvina delight in their happy reunion. The people cheer for their beloved ruler and rejoice in their freedom.

II. “King and charcoal burner: opera in tre atti” (“Kral a uhlir”), 24 novembre 1874, Libretto di B. Lobesky. This was Dvorak’s second opera (out of ten), after “Il re Alfredo”. "King and charcoal burner" is based on an old  Czech legend of the 11th century, about the rescue of Prince Jaromir of Bohemia. In the libretto, he becomes “Matthias”, the Habsburg king (baritone),  lost in the woods but rescued by Matteo, a charcoal burner (basso). As “Matteo” is the familiar form of “Matthias” we have two characters with the same name: one poor (the charcoal burner), one rich (the king). The Matthias mingles incognito among the common folk, a frequently recurring theme in Czech culture of that time. The plot is based on the merging of the worlds of the aristocracy and the common folk.  The other charaters in the opera include: Jindrich, Burgrave of Krivoklat (tenor), Anna, his wife (contralto), Lidushka, his daughter (soprano), Jenik, another charcoal burner (tenor), Eva (soprano), and two knights (tenor and bass).

 

III. “The stubborn lovers: opera in 1 atto"” (“Tvrde palice”), Nuovo Teatro Ceco, Praga, 2 ottobre 1881, su libretto di J. Shtolba.  This was Dvorak’s third opera, after “King and Charcoal burner”. Two neighbours, widower Vavra (baritone) and widow Rihova (contralto) come to an agreement. Their children, Tonico (tenor) and Lenka (soprano) will be married – even but without their approval. The god-father of the couple, Rericha (basso), knows that Tonico and Lenka love each other, but he also knows that they are too stubborn to yield to any pressure. The pair refuses to obey their parents. Therefore, the cunning godfather tries to find a way out. He suggests to Tonico and Lenka that Tonico’s father wishes to marry Lenka, while Lenka’s mother is to get Toníco as a husband. The godfather arranges two secret meetings, first with Lenka, then with Toníco. They spy on the meetings of their counterparts and their alleged suitors. Then, Toníco and Lenka start to be jealous of each other. The godfather’s successful trick spreads fast through the whole village, and their parents become targets of ridicule. Toníco and Lenka end up regretting their initial stubbornness and admit their mutual love. Finally, the godfather confesses to having set the trap only for the sake of uniting the stubborn lovers, and everything concludes with a happy ending.

 IV.  "Vanda, regina di Polonia: melodramma in cinque atti, su libretto di V. Benesh-Shumavsky e F. Zakrejs, tratto da J. Surzycki.  Teatro Provizionale, Praga, 17 aprile 1876, This was Dvorak’s fourth opera (out of ten), after “Stubborn Lovers”.  Vanda, the Polish queen soprano, Bozena mezzo-soprano, Homena contralto, Lumir baritone, Roderico, a German prince baritone  Slavoj tenor, Velislav tenor, Vserad tenor, Vitomír tenor, Messenger, tenor, Heraldo tenor, and High priest, bass. Vanda is the queen of Poland. Vanda drowns herself in the Vistula in order to save her people from Roderico, the German invader. Il nome "Wanda" potrebbe derivare da un nome germanico che significa "venedo", cioè "appartenente al popolo dei Venedi", mentre, secondo altre fonti, la radice è una parola germanica che significa "destrezza", "agilità". Tale nome è portato, nelle leggende polacche, dalla figlia di re CRACO che, divenuta regina, si sarebbe suicidata per evitare un matrimonio non voluto,alla cui storia si ispirano diverse opere (come "La Wanda", di Anto­nín Dvorak). Princess Wanda (reputedly lived in 8th century Poland)  was the daughter of CRACO , legendary founder of CRACOVIA. Upon her father's death, Wanda became queen of the Poles, but committed suicide to avoid an unwanted marriage. The first written record of the legend of Wanda was by the chronicler Vincente Kadłubek. In this version of the story Wanda ruled Poland after the legendary Polish king Craco. When her lands were invaded by an Alamann tyrant, who sought to take advantage of the previous ruler's death, Wanda led her troops out to meet him. Seeing her beauty, the German troops refused to fight and their leader committed suicide. Towards the end of the story Kadłubek states that the river VANDALO is named after her and hence the people she ruled over were known as "i vandali. In this version Wanda remained unmarried and had a long life. Subsequent versions of the story differ significantly. In the version from the Wielko Polska Chronicle, the German leader, Rytygier, first wants to marry Wanda and invaded her lands only when she refused. Here, he died during the ensuing battle, while it was Wanda who afterward committed suicide, as a thanks and a sacrifice to the pagan gods who gave her victory. In yet other versions of the story, Wanda commits suicide, by throwing herself into the Vistula river, because she knows that as long as she is alive, there will be future potential suitors who will use her refusal to marry as a pretext for an invasion. The story of princess Wanda was first described by medieval (12th and 13th centuries) Polish bishop and historian, Vincente Kadłubek, and it is assumed by most historians that it was invented by him, possibly based on Slavic myths and legends, although some historians see the legend rooted in Ancient Roman  traditions. Interestingly, the Kadłubek version has the German prince, not princess Wanda, committing suicide. According to Kadłubek, the princess lived a long and happy life, forever remaining a virgin. It was only in the 13–14th century Wielkopolska Chronicle that the variant with Wanda committing suicide was popularized by the 15th-century historian, Jan Długosz. Tradition has it that she is buried in the large Wanda Mound ( Kopiec Wandy). A custom observed up to the 19th century was that at Pentecost bonfires were lit on this mound, located on the outskirts of Cracovia in Nowa Huta, the industrial district established in 1949. Nowa Huta construction begun on the name day of Wanda (23 June), and she is a semi-official patron of that district, which has a trade center, street, bridge and stadium bearing her name. Zacharias Werner wrote a drama named "Wanda", which under Werner's friend Goethe was performed on stage in 1809. In Polish literature, the story of Wanda has served as inspiration of several works, often stressing the themes of Polish independence and victorious conflict with Germany.  C.K. Norwid visited the Mound in 1840. He subsequently composed the narrative poem "Wanda" in honour of the ancient princess. The Croatian dramatist Matija Ban made Wanda the symbol of Poland in his 1868 play, "Wanda, the Polish Queen". Antonín Dvořák composed the fifth of his 11 operas, the tragedy Vanda around this episode in Polish history legends. Writing in 1875, he cast the story as a struggle between the pagan Slavs and the Christian Germans. In 1890, a statue designed by the Polish artist Jan Matejko depicting an eagle turning to the west was mounted on top of the mound. On the base of the statue the inscription WANDA was carved, together with two swords and a distaff. Scholars Albina Kruszewska and Marion Coleman described Queen Wanda as having "the pure white chastity of Elaine, the filial devotion of Cordelia, and the iron will of Boadicea." References: Brooklyn Museum "Dinner party" database, Vincent Kadlubek legend of Wanda, who lived in the land of the Wandalen, Vandals, Kumaniecki, Podanie o Wandzie w świetle źródeł starożytnych, Pamiętnik Literacki 22–23 (1925–26).  K. Römer, Podanie o Kraku i Wandzie, Biblioteka Warszawska 1876. G. Labuda, Studia nad początkami państwa polskiego, t. II, Poznań 1988.  J. Banaszkiewicz, Rüdgier von Bechelaren, którego nie chciała Wanda. Przyczynek do kontaktu niemieckiej Heldenepik z polskimi dziejami bajecznymi, Przegląd Historyczny, 75, 1984. Wanda, Alkor. Albina I. Kruszewska, Marion M. Coleman, American Slavic and East European Review, 1947 "The Wanda Theme in Polish Literature and Life". Retrieved 2007-10-12.  Elizabeth A. Sackler Center for Feminist Art The Dinner Party: Heritage Floor: Wanda Brooklyn Museum "Dinner party" database of women of achievement. Accessed May 2008 Further reading:  Anstruther & Sekalski, Old Polish Legends, Hippocrene Books; 2nd edition, May, 1997. Kraków District Guide, OAG Cities Guides, 2007 External links[edit] Wikimedia Commons has media related to Wanda. Wanda: A Tragic Opera in Five Acts. The Legend of Wanda

 

V. 1878. DVORAK, “The cunning peasant” (“Shelma sedlak”). Libretto by J. Vesely.  Praga. This was Dvorak’s fifth opera (out of ten), after “Vanda, ossia la regina di Polonia”.  On the grounds of the palace of the Prince (baritone), the village maidens are celebrating May and the love it brings. But Betushka (soprano), the daughter of wealthy famer Martino (basso), is sad. The girls try to cheer Betushka up with the hope of the Prince's arrival allowing her love to be fulfilled. Jeník, a poor country shepherd, arrives and asks Betushka why she is sad. It is because her father, the wealthy famer Martin, wishes her to marry a richer man. The two embrace and sing of their hope that God will help their love. Martin, Veruna and Vaclav (tenor) the son of a rich farmer, arrive as the shepherd Jeník leaves. Martin tells his daughter Betushka off for spending time with a tramp like Jeník when he has in mind a wealthier husband for her. Betushka reaffirms her love for Jeník and Veruna supports her, but her father will have none of that. Václav tells her of all the gifts he can give her if she agrees to marry him instead. Bětuška refuses. Martin expresses his anger with her. The girls return to take Bětuška along with them to collect a bouquet for her to present to the Prince. Thinking they're alone, Václav and Martin discuss what to do. The former expresses frustration feeling that the whole village is mocking him. Martin reassures him that they are both clever Bohemian peasants, (Jsme čestí sedláci, they sing together). They will replace the ladder Jenik usually uses with a plank over a barrel of water. They will beat him after he falls in. However Veruna has been listening and she intends to warn the lovers of the trap. The whole village turn out to greet the Prince and Princess. When Bětuška gives the Prince the bouquet, both he and Jean are struck by her beauty. Jean tries to pinch her and the jealous Berta complains. Martin and Václav approach the Prince to ask for his agreement to Václav marrying Bětuška. He replies that he will speak to Bětuška first and find out her wishes. When he does so, he says he will grant Jeník a farm and let Bětuška marry her instead, provided she visits the Prince alone at the summer house during the evening. Veruna, the villa forewoman (contralto) has been listening again and comments to Bětuška about the Prince's lecherous intentions. Meanwhile, they see Jean approaching, strutting like a peacock. He asks Bětuška to leave a ladder outside her window for him. Veruna informs him that there will be a barrel he can climb onto instead. Berta arrives and tells Jean off. Veruna explains to the other two women about how the barrel is a trap. She also visits the Princess (soprano) who will visit her husband in the summerhouse in the evening instead of Bětuška and give him a slap Spring festivities are taking place complete with dancing, beer and a Maypole which a villager climbs to win a prize. A the Prince draws the celebrations to a close, various characters sing of their hopes to end up in Bětuška's arms, to humiliate other characters or, in Bětuška's own case, to end up in Jeník's arms. Jeník and Bětuška wish each other goodnight. She tells him of the Prince's intentions and they think of eloping. Martin sees the barrel into position while Václav feels guilt at what they are planning. Veruna directs the Princess and Berta, both disguised as Bětuška to their respective positions. Thinking he is seducing Bětuška, the Prince complains about how he is bored by his wife. The Princess takes the bond for the promised farm from him before slapping him. Meanwhile Jean tries to climb to Bětuška's window, where Berta is, and falls into the barrel. Martin and Vaclav rush out to beat him up, egged on by Berta. She and the Princess demand and receive repentance from the Prince and Jean. Everyone blames Martino for having such a beautiful daughter. The Prince instructs him to marry her to Jeník. Martin apologises to Václav who is sure that his wealth will help him find a wife elsewhere. The Prince gives Jeník the deeds to the farm and Martin promises a generous dowry. Everyone praises the Prince and Princess.

 

VI. 1882. DVORAK, “Dimitri Ivanovich: melodramma in Quattro atti. Nuovo Teatro Ceco, Praga, ottobre 8, tratto da Schiller. Libretto di M. Cervinkova-Riegrova, based on the play by Ferdinando Mikovec. Dimitri I the False Tsar of All Russia Reign21 July 1605 – 17 May 1606 Coronation21 July 1605 PredecessorFeodor II SuccessorVasili IV SpouseMarina Mniszech Full name Jurij (Grigorij) Otriepjew FatherUnknown MotherUnknown Born1581 Died17 May 1606 Signature
False Dmitriy I (Cyrillic Лжедмитрий; other transliterations: Dimitri, Dimitrii, Dimitriy, Dimitry, Dmitri, Dmitrii, Dmitry) was the Tsar of Russia from 21 July 1605 until his death on 17 May 1606 under the name of Dimitriy Ioannovich (Cyrillic Димитрий Иоаннович). He is sometimes referred to under the title of Dmitriy I. He was one of three impostors (Russian: самозванец 'samozvanets', "imposter") who claimed during the Time of Troubles to be the youngest son of Ivan the Terrible, tsarevitch Dmitriy Ivanovich, who had supposedly escaped a 1591 assassination attempt. It is generally believed that the real Dmitriy was assassinated in Uglich and that this False Dmitriy's real name was Grigory Otrepyev, although this is far from certain. False Dmitriy I history circa 1600, when he made an impression on Patriarch Job of Moscow with his learning and assurance. Tsar Boris Godunov, however, ordered him to be seized and examined, whereupon he fled to Prince Constantine Ostrogski at Ostroh, then in the Polish-Lithuanian Commonwealth, and subsequently entered the service of another polonized Ruthenian family, the Wisniowieckis. Princes Adam and Michał Wiśniowiecki found his story to be convincing, as to who he purported to be, and it gave them an opportunity to get involved in the political turmoil that was transpiring in Muscovy.
There were vague rumours that Dmitriy was an illegitimate son of the Polish king, Stefan Batory, who had reigned from 1575 to 1586. According to a later tale, Dmitriy blurted out his identity when his master had slapped him in anger. Dmitriy himself claimed that his mother, the widow of Tsar Ivan, had anticipated Boris Godunov's assassination attempt and had given him into the care of a doctor who hid with him in Russian monasteries. After the doctor died, he had fled to Poland where he worked as a teacher for a brief time before coming to the service of Wisniowiecki. A number of people who had known Tsar Ivan later claimed that Dmitriy did resemble the young tsarevitch. Dmitriy displayed aristocratic skills like riding and literacy and spoke both Russian and Polish.
Regardless of whether they believed the tale of Dmitriy, Adam Wiśniowiecki, Roman Różyński, Jan Sapieha and several other Polish noblemen decided to support him against Tsar Boris Godunov. In March 1604, Dmitriy visited the royal court of Sigismund III Vasa in Kraków. The king provisionally supported him, but did not promise any direct aid to help him on his way to the throne of Russia. To attract the support of powerful Jesuits, Dmitriy publicly converted to Roman Catholicism on 17 April 1604 and convinced the papal nuncio Claudio Rangoni to back up his claim. At that time he also met Marina Mniszech, a Polish noblewoman, who was a daughter of Jerzy Mniszech. He asked for her hand and was promised it in return for giving to the Mniszech family the Russian towns of Pskov, Novgorod, Smolensk and Novhorod-Siverskyi.
When the Tsar Boris heard about the pretender, he claimed that the man was just a runaway monk called Grigory Otrepyev (born Yury Otrepyev; Grigory was the name given at the monastery), although on what information he based this claim is unclear. Regardless, his support began to wane, especially when he tried to spread counter-rumors. Some of the Russian boyars also claimed to accept Dmitriy's claim because it gave them legitimate reason not to pay taxes to Boris.
Dmitriy attracted a number of followers, formed a small army, and gained the support of Commonwealth magnates who gave him approximately 3500 soldiers from their private armies. With them he rode to Russia in June 1604. Enemies of Boris, including the southern Cossacks, joined his forces on his way to Moscow. Dmitriy's forces fought two engagements with reluctant Russian soldiers; they won the first, capturing Chernigov (modern Chernihiv), Putivl (Putyvl), Sevsk, and Kursk but badly lost the second and nearly disintegrated. Dmitriy's cause was only saved when the news of the sudden death of Tsar Boris (13 April 1605) reached the troops.
This removed the last barrier to the pretender's further progress. Russian troops began to defect to Dmitriy's side, and on 1 June boyars in Moscow staged a palace coup. The boyars imprisoned the newly crowned tsar, Feodor II, and his mother and later killed them. On 20 June Dmitriy made his triumphal entry into Moscow, and on 21 July he was crowned tsar by a new Patriarch of his own choosing, the Greek Patriarch Ignatius.
At first the new tsar tried to consolidate his power by visiting the tomb of Tsar Ivan the Terrible and the convent of his widow Maria Nagaya, who accepted him as her son. The Godunov family was executed with the exception of Princess Xenia Godunova, whom he raped and imprisoned as his concubine.[citation needed] In contrast, many of the noble families exiled by Godunov - such as the Shuiskys, Golitsins and Romanovs - were granted the pardon of Tsar Dmitriy and allowed to return to Moscow. Filaret (Feodor Romanov) he appointed as metropolitan of Rostov. Patriarch Job of Moscow, who did not recognize him as the new tsar, was sent to exile.
Dmitriy planned to introduce a series of political and economical reforms. He restored Yuri's Day, the day when serfs were allowed to move to another lord, to ease the conditions of peasantry.
In foreign policies, Dmitriy sought for an alliance with the Polish-Lithuanian Commonwealth and with the Roman Pontiff. He planned a war against the Ottoman Empire and had ordered the mass production of firearms. In his correspondence, he referred to himself as the "Emperor of Russia," a century before Tsar Peter I, though this title was not recognized at the time.
On 8 May 1606, Dmitriy married Marina Mniszech in Moscow. It was the usual practice that when a Russian Tsar married a woman of another faith, she would convert to Eastern Orthodox Christianity. It was rumored that Dmitriy had obtained the support of Polish King Sigismund III Vasa and Pope Paul V by promising to reunite the Russian Orthodox Church and the Holy See. It was allegedly for this reason that Tsarina Marina did not convert to the Orthodox faith.
This angered the Russian Orthodox Church, the boyars, and the population alike and increased the support of his enemies. The boyars, headed by Prince Vasily Shuisky, began to plot against him, accusing him of spreading Roman Catholicism, Lutheranism, and sodomy. They gained popular support, especially as Dmitriy was guarded by Western European mercenaries. According to Russian chronicler Avraamy Palitsyn, Dmitriy further enraged many Muscovites by permitting his Catholic and Protestant soldiers, whom the Russian Church regarded as heretics, to pray inside of Orthodox churches.[1]
Prince Shuisky and his adherents spread word that Tsar Dmitriy was about to order his Polish retainers to lock the city gates and massacre the people of Moscow. Whether such orders existed or not, Palitsyn's chronicle believed them to be true.[2] In the morning of 17 May 1606, ten days after his marriage to Tsarina Marina, a massive number of boyars and commoners stormed the Kremlin. Tsar Dmitriy tried to flee through a window but broke his leg in the fall. One of the plotters shot him dead on the spot. The body was put on display and then cremated, the ashes reportedly shot from a cannon towards Poland. According to Palitsyn, Tsar Dmitriy's death was followed by a massacre of his supporters. Palitsyn boasted in his chronicle that, "a great amount of heretical blood was spilled on the streets of Moscow."[3]
Dmitriy's reign had lasted a mere ten months. Prince Shuisky then took his place as Tsar Vasili IV of Russia. However, two further impostors later appeared, False Dmitriy II and False Dmitriy III. Both of them were accepted by Tsarina Marina as her fallen husband. The False Dmitriy is one of the primary characters in Alexander Pushkin's blank verse drama Boris Godunov. In Pushkin's drama, the character is a young novice monk who decides to impersonate the Tsarevich when he hears they would have been the same age had the child lived. Pushkin's decision to humanise the False Dmitriy earned him the disapproval of Tsar Nicholas I of Russia, who then prevented the play from being published or staged. In an unpublished forward, Pushkin wrote, "There is much of Henri IV in Dmitri. Like him he is brave, generous and boastful, like him indifferent to religion -- both abjure their faith for a political cause, both love pleasures and war, both devote themselves to chimerical projects, both are victims of conspiracies... But Henri IV didn't have a Ksenya on his conscience -- it is true that this horrible accusation hasn't been proved and, as for me, I make a point of not believing it."[4] Pushkin intended to write further plays about the reigns of Dmitriy and Vasili, as well as the subsequent Time of Troubles. Pushkin was prevented from fulfilling these plans by his death in a duel at the age of 37. Although based upon Pushkin's play, Modest Mussorgsky's opera of the same name, overtly demonizes the False Dmitriy, the Polish people, and the Roman Catholic Church. False Dmitriy's engagement to Marina Mniszech is shown to have been instigated by a priest of the Society of Jesus. When Marina balks at seducing the Pretender, the Jesuit threatens her with Hellfire until she grovels at his feet. This is in marked contrast to Pushkin's belief that Tsarina Marina was motivated by a pathological ambition to rise to royalty. At the opera's denouement, the Pretender's ascent to the throne is lamented by the holy fool Nikolai, who appears in Pushkin's play only to rebuke Tsar Boris for murdering the real Dmitriy. In Mussorgsky's opera, though, the holy fool, proclaims, "Weep, weep Orthodox soul," and predicts that, "the enemy will come," leading to, "darkness blacker than night." False Dmitriy's story is also told by Schiller (in "Demetrius"), Sumarokov, Khomyakov, and by Antonín Dvořák in his opera Dimitrij. Rainer Maria Rilke recounts the overthrow of the False Dimitriy in The Notebooks of Malte Laurids Brigge, Rilke's only longer prose work. Harold Lamb fictionalizes the demise of the False Dimitriy in "The Wolf Master", in which the claimant survives his assassination through trickery, and flees East, pursued by a Cossack he has betrayed.
See also[edit] Wikimedia Commons has media related to False Dmitriy I. Ivan Bolotnikov
Isaac Massa Polish-Muscovite War (1605-1618) Tsars of Russia family tree References[edit]
Jump up ^ Serge Zenkovsky, Medieval Russia's Epics, Chronicles, and Tales, Revised and Enlarged Edition, Meridian Books, 1974. Pages 383-385. Jump up ^ Zenkovsky (1974), page 385.
Jump up ^ Zenkovsky (1974), page 386. Jump up ^ The Critical Prose of Alexander Pushkin, edited and translated by Carl R. Proffer. University of Indiana Press, 1969. Pages 97-98. External links[edit]
The Reporte of a bloudie and terrible Massacre in the Citty of Mosco, with the fearefull and tragicall end of Demetrius the last Duke, before him raigning at this present. (1607) London. Regnal titles
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17th-century monarchs in Europe. This was Dvorak’s sixth opera (out of ten), after “Cunning Peasant”. "Dimitri" was first performed in the United States in 1984 in a concert format presented at Carnegie Hall in New York by conductor Robert Bass and the Collegiate Chorale, with Martina Arroyo as Marina. After the death of Boris Godunov, the Russians are split between the followers of the Godunov family, led by Prince Vasilij Shuisky (baritone), whilst others, led by General Basmanov (basso), support Dimitri Ivanovich (tenore), assumed to be the son of Ivan the Terrible, and husband to Marina Sandomil (soprano). If Marfa Ivanova (contralto), the widow of Ivan the Terrible, publicly recognises Dimitri as her son, Dimitri will triumph. Despite knowing that this is not the case, the widow does this to use Dimitri as a pawn for her revenge on her old enemies. Dimitri is seen breaking up altercations between Poles and Russians and rescuing Xenia Borisovna (soprano), with whom Dimitri forms a relationship. Dimitri also breaks up a conspiracy led by Vasilij Shuisky, who is to be executed. Xenia Borisovna begs Dimitri to have mercy on Vasilij Shuisky. Dimitri’s wife, Marina, realises the link between the Dimitri and Xenia, and reveals Dimitri's humble origins, but he nevertheless intends to remain ruler. Xenia mourns her betrayed love. Dimitri’s wife, Marina, however, has Xenia killed and reveals Dimitrij's origins. Dimitri is finally shot byVasilij Shuisky.

 

VII. 1889. DVORAK, “Il giacobino: melodramma in tre atti”, Teatro Nazionale di Praga, February 12,  libretto di M. Cervinkova-Riegrova, based on a story by A. Jirasek. This was Dvorak’s seventh opera (out of ten), after “Dimitri Ivanovich”. In 1793 in a country village in Bohemia, Bohus (baritone) is back, incognito, with his wife Julie (soprano). His mother is dead and his father, the Count Wilem of Harasov (bass), has disowned him and has become a recluse. Meanwhile Filippo (basso), the Count's chief-of-staff, pays court to Terinka (soprano), the daughter of the schoolmaster Benda (tenore). Terinka is, however, in love with Jirí, a game-keeper (tenor). The Burgrave is suspicious of Bohus and Julie, especially as they have come from Paris where the Count's son is said to be allied with the Jacobins. To everyone's surprise, the Count himself now appears, confirming that he no longer regards Bohuš as his son, and that his heir will be his nephew Adolfo (baritone). Adolf and the Burgrave rejoice, while Bohuš and Julie, hidden among the crowd, are horrified at the turn that events have taken. In the second Act, in the school, Benda rehearses a chorus of children and townsfolk, together with Terinka and Jiří as soloists, in a cantata which will celebrate Adolf's new position. After the rehearsal Terinka and Jiri declare their love but Benda returns and announces that his daughter must marry the Burgrave. An argument develops but suddenly the people return, alarmed at the rumour that sinister Jacobins have arrived in the town. The townsfolk run away in terror as Bohus and Julie arrive to ask Benda if he can accommodate them for a few days. He is inclined to refuse, but when they reveal that they are Czechs who have sustained themselves in foreign countries through singing the songs of their native land, he, Terinka and Jiri are overcome with emotion and are happy to shelter them. The chief-of-staff comes to woo Terinka, but she rejects him. When Jiří defies him, the chief-of-staff threatens to force him into the army, but suddenly Adolf enters wanting to find out if the Giacobino, Bohus, has been arrested. The chief-of-staff prevaricates. Bohuš himself arrives and reveals who he is. He and Adolfo quarrel and Adolfo orders Bohuš's arrest. At the castle, Jiri tries to see the count to tell him that his son has been imprisoned but is himself arrested at the behest of Adolfo and the chief-of-staff. Lotinka, the keeper of the keys to the castle, admits Julie and Benda, and goes to fetch the Count. Julie hides and Benda tries to prepare the count for a reconciliation with his son Bohus. The count however is still angry with his son for marrying and leaving Bohemia and for his alleged Jacobin sympathies. Benda departs and the Count laments his lonely life and wonders whether he has, after all, misjudged his son. Julie sings a song that the late countess used to sing to her son when he was a child. The Count, recognising the song, is overcome with emotion, and asks Julie where she learnt it. Once the count discovers that it was his son who taught the song to Julie, his anger returns. Julie is however able to convince the count that his son, far from being a Jacobin, supported the Girondins and had been condemned to death by the Jacobins. Julie now reveals that the count’s son is in prison and that she is his wife, but the celebrations are about to start, and she leaves. The children and townsfolk rejoice and the count announces that he will present his successor to them. Adolfo is overjoyed but the count first enquires of him and the chief-of-staff whether there are any prisoners that he can pardon as part of the festivities. They reluctantly admit that there are and the count’s son and the game-keeper are summoned. The chief-of-staff realises that the game is up as the count denounces the scheming Adolfo and embraces his son and his son’s wife. The count’s son praises the loyalty of the game-keepr and Terinka. The Count joins their hands. The schoolteacher Benda gives the couple his blessing. The opera ends with a minuet, a polka and a chorus praising the Count and his new-found happiness with his son and his family.

 VIII. “Il diavolo e Catalina: opera in three acts” (“Cert a Kaca”). Praga: National Theatre, 23 November 1899. Libretto di Adolfo Wenig. Based on a farce by J. Tyl, and the Fairy Tales of B. Nemcova.  This was Dvorak’s eighth opera (out of ten), after “Il Giacobino”. In a village in Bohemia, on a summer evening, the shepherd Jirka (TENORE), slightly intoxicated, begs to be excused from further dancing outside the inn, as he will be in trouble with his employer, the princess's steward if he does not return to his work. Kaca  (Kate, mezzo-soprano) then appears with her mother. Jirka leaves with some of the musicians. Kaca wants to dance but her mother doesn't want Kaca to embarrass herself. Infuriated Kaca says that she will dance with a devil if necessary. Suddenly, a mysterious hunter appears asking about the steward and the princess. The hunter sits down with Kaca, engages her in conversation, and asks her to dance with him. Kaca accepts, eventually collapsing with exhaustion but nevertheless exhilarated. The shepherd Jirka returns, furious with the steward who shouted at him for bringing the musicians with him, then beat him, dismissed him and told him to go to Hell. Meanwhile, the hunter has persuaded Kaca to go with him to his splendid dwelling. The hunter stamps on the ground, and the and Kaca disappear into the earth amid thunder, lightning and smoke. It is apparent to all that they have gone to Hell. The shepherd Jirka, having nothing to lose, consoles Kaca's mother by agreeing to follow the pair and rescue Kate. He jumps into a hole in the ground. In hell some Devils are playing cards for money. The Guard announces the arrival of The Devil, who asks whether his servant has returned from Earth. On discovering that he hasn't, the Devil asks to be informed when he does appear and departs. The gate keeper explains to the other servants that The Devil had sent this servant to see if the Princess and her Steward are ripe for Hell yet. The devil’s servant now arrives, exhausted and carrying Kaca, whom the Devils initially mistake for the Princess. Kaca harangues the Devil at length, and the devil’s servant explains that she is wearing a cross which protects Kaca against the Devil, so that he can't get rid of her. The Devil reenters to find out what Kaca shouting is about. Then Jirka appears, saying that he has come for Kaca, and is admitted by the gate keeper. Jirka suggests to the Devil that Kaca may be bought off. Kaca is tempted by some golden chains that are produced. Meanwhile, the Devil questions his servant about his trip, and agrees that the Princess should be brought to Hell, while the Steward should be threatened but reprieved for the time being. The servant now has to promise the shepherd Jirka that he shall have some of the Princess's gold - given him by the Steward to reward him for fighting off the threatening Marbuel if he will take Kaca back to Earth. Jirka is pleased with the plan. He agrees that the way to do that is to dance with Kaca. Jirka  manages to dance Kaca out past the Gate-Keeper. The latter slams the gate shut, to the great relief of all, especially Marbuel, who remarks that music has succeeded in doing what the denizens of Hell could not. In a hall in the Princess's castle Marbuel's plan has worked, and Jirka rescued the Steward (who never appears on stage in the opera). The Princess has started to repent her misdeeds, but fears that nothing can save her, since the Steward was only doing her bidding and it is she whom the devils must carry to Hell. Nevertheless, she has summoned Jirka in the hope that he can ward them off. Jirka, embarrassed, tells her that she has already committed too many evil deeds, and he cannot help. The Princess promises to reform, but Jirka tells her that, unless she agrees to free the serfs, she will go to Hell and not even he will be able to save her. She agrees, and her Chamberlain announces her decree to the waiting crowd outside, who greet it with acclaim. Jirka now tells the Princess that he has a plan which will save her, and she exits so that he can make preparations. Jirka summons Kate, and explains that when Marbuel comes for the Princess, she (Kate) will be able to take her revenge on him. Kate enthusiastically agrees, and hides in the next room. The Princess returns and, instructed by Jirka, sits in her chair with her courtiers round her, while Jirka joins Kate. The moon illuminates the room and then the light turns red as Marbuel appears, telling the Princess that her time on Earth is up. To Marbuel's irritation, Jirka interrupts, but his annoyance changes to horror when Jirka tells him that Kate is coming to get him. The door flies open, and Kate stands in the lighted doorway. Marbuel screams and disappears through the window, never to return. The grateful Princess appoints Jirka as her new Prime Minister, and agrees that Kate shall have the best house in the town and plenty of money. Kate would also like to get married, but she anticipates that, with her new-found wealth, she will have no problem making a good match. The peasants arrive to thank the Princess for freeing them from bondage. Jirka promises them that, although now a minister, he is still on their side, and they depart, rejoicing, to enjoy a banquet provided by the Princess. Other characters include: Il diavolo, basso, The Princess soprano, The Devil's Gate-Keeper, the devil’s servant, Guard basso, The Princess's Chamberlain, bass. A Chambermaid soprano A Musician, teno. 

 IX. “Rusalka; ossia la ninfa del bosco: melodramma in tre atti”, Libretto di J. Kvapil, tratto da K. Erben e B. Nemcova. Teatro Nazionale, Praga, 31 marzo 1901. This was Dvorak’s ninth opera (out of ten), after “The Devil and Kate”. The libretto, based on Erben and Němcová, was written before he had any contact with Dvorak. The plot contains elements which also appear in The Little Mermaid by Hans Christian Andersen and in Undine by Friedrich de la Motte Fouqué, and has been described as a sad, modern fairy tale. The composer, always interested in Erben's stories, read the libretto and composed his opera quite rapidly. Coming after his four symphonic poems inspired by the folk-ballads of Erben, Rusalka may be viewed as the culmination of Dvořák’s exploration of a wide variety of drama-creating musical techniques. The music is generally through-composed, and uses motifs for Rusalka, her damnation, the water sprite and the forest.  His word-setting is expressive while allowing for nationally inflected passages, and Grove judges the work shows the composer at the height of his maturity. Dvorak uses established theatrical devices – dance sections, comedy (Gamekeeper and Turnspit) and pictorial musical depiction of nature (forest and lake). It has been admired for the wealth of melodic patterns that are dramatic in themselves and its shimmering orchestration". The final section of the opera – the duet for the Prince and Rusalka has been described as one the most glorious minutes in all opera in their majestic, almost hymnic solemnity, a vivid, profoundly disturbing drama. The UK stage premiere was at Sadler's Wells Theatre in 1959.

Nell'Atto I, una notte, sulle sponde del lago  di un bosco, chiamato dalle fate (Hou, hou, hou), lo SPIRITO DELLE ACQUE (basso) emerge dai flutti per giocare assieme a loro. Appare l'ondina RUSALKA (soprano), ninfa dei laghi e dei fiumi, la quale parlando con su padre, lo Spirito delle acque, gli confessa il suo intento a prendere sembianze umane per tentare di sposare un Principe del quale s'è follemente innamorata. Tentato invano di dissuaderla, il padre le indica la capanna di JEZIBABA la strega (mezzo-soprano), che può aiutarla. Rusalka rimane sola e prima di rivolgersi alla strega si augura, con un inno, che la Luna preservi il sonno dell'amato. Giunta alla capanna, JEZIBABA accetta di compiere l'incantesimo ma in cambio le chiede il suo vestito trasparente di ondina, il patto che dovrà perdere la voce e la maledizione, nel caso in cui il Principe dovesse tradirla, che ella per l'eternità sarà dannata a vagare in solitudine negli abissi e a sua volta anche il Principe sarà condannato. JEZIBABA prepara il filtro. L'indomani all'alba IL PRINCIPE (tenore) si trova a passare nei pressi del lago assieme ai suoi compagni preceduto dal canto di un cacciatore. D'un tratto si sente magicamente attratto dalle acque e stanco così allontana i compagni di caccia invitandoli a tornare al castello.  Da una capanna esce RUSALKA e il PRINCIPE si trova presto sedotto dalla bellezza di RUSALKA, la quale muta non può fare altro che gettarsi fra le braccia del Principe. Anch’egli ormai innamorato la invita a seguirlo al Palazzo. Nell'Atto II fervono al palazzo del Principe i preparativi per le nozze del Principe con la muta forestiera.  Incuriosito chiede il Guardacaccia (tenore) al garzone di cucina che cosa stesse succedendo e se fosse vera la notizia del matrimonio del Principe con una misteriosa donna. Conferma della cosa, i due si confidano che malvedono questa misteriosa forestiera in quanto venuta dal profondo bosco dove vivono strane creature, così si augurano che la chiacchiera che la PRINCIPESSA principessa straniera venuta per le nozze starebbe per conquistare il cuore dello sposo sia vera affinché non si comprometta inevitabilmente il destino del loro Principe. Al palazzo, la PRINCIPESSA brucia dall'invidia per questo amore e vuole conquistare Il Principe. Rusalka, triste in quanto avverte il cambiamento del Principe di fronte all'avversaria, viene mandata a prepararsi per la festa. Approfittando di questo, la Principessa cerca di sedurre il Principe. Si arriva al ballo e tutto è festa tra danze e cori degli invitati, ma allo Spirito delle Acque non sfugge la passione che sta per sfociare fra il Principe e l’invitata così dispiaciuto emerge da una fontana ed avvisa RUSALKA che affranta, così tanto da ritrovare la voce,  si duole anch’ella con il proprio padre per l'imminente nefasto destino che la vede perdere il suo amore terreno e l’impossibilità di tornare tra gli affetti delle acque, maledice la specie umana e riconosce come erano stati giusti i consigli del padre. Intanto, il Principe e la Principessa nel giardino del palazzo tessono un appassionato duetto d'amore. D'un tratto Rusalka nell'estremo tentativo di recuperare il principe si getta tra le braccia del Principe che stavano stringendo quella dell'umana rivale, ma il Principe, impaurito dal suo pallore e dalla sua freddezza, la respinge. A quel punto lo Spirito delle Acque reagisce sdegnato contro il principe e la principessa, minaccia il Principe predicendogli che Rusalka e lui non si separeranno mai. Rusalka viene presa dal padre e portata con sé mentre il Principe stordito chiede aiuto alla Principessa che invece si allontana con freddo sprezzo. Nell’Atto III, sulle sponde del lago Rusalka è condannata ad errare per sempre, perché è stata tradita dal Principe. Così Rusalka alla luce delle sera chiede a JEZIBABA un'altra possibilità. Jezibaba sentenzia, porgendole un coltello, che Rusalka potrà sfuggire alla sua condanna se ucciderà il principe. Ma Rusalka rinuncia e si tuffa nel lago. Rusalka scompare tra le onde mentre compaiono sulla scena il Guardacaccia e lo sguattero che vengono a consultare JEZIBABA per guarire il loro Principe affetto da una misteriosa malattia, ma vengono messi in fuga dallo Spirito delle Acque ancora in collera per quanto successo a Rusalka, maledicendo la specie umana. Le fate festose non placano il dolore dello spirito per Rusalka. Accorre al lago il Principe affranto dalle pene amorose e gli appare Rusalka che lo redarguisce amorevolmente per il suo tradimento. Il Principe implora il suo perdono e vuole baciarla. Ma Rusalka lo avverte che si tratterà di un bacio mortale. Il Principe accetta la sua sorte pur di morire nelle braccia di Rusalka e trovare così finalmente pace. 

In Act I, in a meadow, by the edge of a lake three wood sprites tease the Water Goblin, ruler of the lake. Rusalka, the Water Goblin's daughter, tells her father she has fallen in love with a Prince who comes to hunt around the lake. She wants to become human to embrace him. The father tells Rusalka it is a bad idea. But nonetheless steers her to Jeshibaba, a witch, for assistance. Rusalka sings a hymn asking the Moon to tell the Prince of her love. Jeshibaba tells Rusalka that if she becomes human she will lose the power of speec. Moreover, that, if she is betrayed by the Prince both of them will be eternally damned. Rusalka agrees to the terms. She drinks a potion. The Prince hunting a white doe finds Rusalka. He embraces her and leads her away, as her father and her two other sisters lament. In Act II, at the garden of the Prince's castle a game-keeper and his nephew, the kitchen servant, note that the Prince is to be married to a mute nameless bride. They suspect witchcraft and doubt it will last as the Prince is already lavishing attentions on a Princess, a wedding guest. This Princess, jealous, curses the couple. The Prince rejects Rusalka. The Water Goblin takes Rusalka back to his pond. The Princess, having won the Prince's affection, now scorns it. In Act III, in a meadow by the edge of a lake Rusalka asks Jeshibaba for a solution to her woe. She is told she can save herself if she kills the Prince with the dagger she is given. Rusalka rejects this throwing the dagger into the lake. Rusalka becomes a spirit of death living in the depths of the lake emerging only to lure humans to their deaths. The Game-keeper and the Kitchen servant consult Jeshibaba about the Prince who they say has been betrayed by Rusalka. The Water Goblin says that it was actually the Prince who betrayed Rusalka. The wood sprites mourn Rusalka's plight. The Prince searching for his white doe comes to the lake. He enses Rusalka and calls for her. The Prince asks Rusalka to kiss him, even knowing her kiss means death and damnation. Rusalka and the Prince kiss and he dies. The Water-Goblin comments, ‘all sacrifices are futile.’ Rusalka thanks the Prince for letting her experience human love, commends his soul to God ,and returns to her place in the depths of the lake as a demon of death.

X. “Rinaldo ed Armida: melodramma in quattro atti”, tratto dalla “Gerusalemme liberata” di Torquato Tasso. Libretto di J. VRCHLICKY, tratto Praga: Teatro Nazionale, 25 Marzo 1904 This was Dvorak’s last and tenth opera, after “Rusalka”. In the gardens of Damasco, the call to prayer is heard. The wizard ISMEN enters with the news of the approaching crusaders, but tries to dissuade the King of Damasco from a confrontation. Let  instead the priest send the king’s daughter, ARMIDA (soprano), whose hand Ismen has been seeking, to sow dissention. Armida balks but changes her mind when Ismen, using his magic, shows Armida the enemy camp where she recognises RINALDO (tenore) as the knight she has just dreamed of. Armida arrives in the crusader's camp and meets RINALDO. He brings her to into the council. Armida tells a story of an usurping uncle having blinded the king and chased her into the desert. Rinaldo cannot wait for the commander of an expedition to restore Armida’s kingdom to be chosen by lot. RINALDO is caught leaving camp with Armida by the hermit Pietro but the lovers are aided in their escape by the wizard Ismen, who drives a chariot pulled by two dragons. Rinaldo and Armida are entertained in a garden by sirens and fairies. Ismen, disguised, tries to destroy the palace. His powers do no match for Armida’s sorcery. Ismen then goes to Rinaldo's companions and claims to be a convert. Glad of Ismen’s help, Rinaldo’s companions accept from him the diamond shield that had belonged to the Archangel Michael. They use the shield to bring Rinaldo out of the palace. But the shield collapses as soon as Armida gives way to grief. Rinaldo then asks forgiveness for abandoning his comrades and his mission. As the crusaders advance on Damasco, the battle passes through the camp. Rinaldo kills Ismen. Rinaldo then faces a black knight, who drops his sword when he curses Armida’s name. Only after stabbing Armida does Rinaldo recognize her. Rinaldo baptises the pagan Armida as she dies in his arms.

XI. SARKA. Encouraged by the success of the premiere of the opera The Cunning Peasant, Dvorak decided to start writing another opera. In 1878, through the mediation of his friend, the poet Josef Vaclav Sladek, he contacted the poet Julius Zeyer with a request for a libretto. Zeyer’s Sarka, which treats a theme from Czech mythology, was nevertheless not what Dvorak was looking for (nor, in fact, did it suit Bedrich Smetana later on), and so he rejected the libretto. As was the case with the genesis of the operas Dimitrij and The Jacobin, Dvorak’s rejection was not definite on this occasion, either. In 1889 – eleven years later – Sladek wrote to Zeyer: “I met Dvorak yesterday and we spoke for a long time. It seems he is asking that you allow him to write a musical setting for ‘Sarka’, and that you do not award it to anyone else. He spoke with sincerity. He said that, when you gave it to him all those years ago, he had not yet grown up! Now he feels he has the strength in him – he now has the courage to attempt something as great as this, and he also understands it. He is captivated by it and he says that, once he starts work, it will soon be ready, because the text is dictating the music to him itself. He has already described to me the individual scenes and he speaks in a way I have never heard him speak. He asked me to write to you immediately, which is what I have done.” We do not know how Zeyer responded, but the fact remains that Dvorak did not write a setting for the libretto even then. Dvorak again began thinking about writing the opera “Sarka” a third time after his return from the United States, during a period when he frequently met up with Zeyer at musical soirees in the home of Josef and Zdenka Hlavka. He even noted down a theme in B major marked “Ctirad” (the name of the main male character) in his sketchbook at the time, but he didn’t get any further with it and finally abandoned the opera for good. Zeyer’s libretto had, in the meantime, been adopted by Leos Janacek, who used it for his very first opera setting; the opera, however, was not premiered until 1925.