Name: Armida
Start: 2012-05-03T00:00:00.000Z
End: 2012-06-12T00:00:00.000Z
Location: Antonín Dvořák Theatre

Organization

Conductor

Robert Jindra

Jan Šrubař

Stage director

Jiří Nekvasil

Costume designer

Simona Rybáková

Set designer

David Bazika

Choreographer

Števo Capko

Dramaturge

Daniel Jäger

Assistant Stage Director

Bohuslava Kráčmarová

Chorus master

Jurij Galatenko

Assistant Conductor

Jozef Katrák

Bass

Martin Gurbaľ

Hydraot

Jan Šťáva

Soprano

Dana Burešová

Armida

Eva Dřízgová-Jirušová

Baritone

Richard Haan

Ismen

Tenor

Tomás Cerný

Rinald

Valentin Prolat

Michal Křístek

Bohumir

Martin Bárta

Ondrej Mráz

Petr

David Szendiuch

Josef Moravec

Sven

Martin Šrejma

Matěj Chadima

Gernand

Michal Onufer

Pavel Ďuríček

Dudo

Peter Svetlík

Roman Vlkovič

Ubald

Václav Živný

Václav Morys

Roger

Ondřej Koplík

Jaroslav Kosec

Muezzin

Martin Štolba

Veronika Rovná

Siren

Marianna Pillárová

National Moravian-Silesian Theatre

Ostrava

Czech Republic

Antonín Dvořák Theatre

Public

Approved

Vrcholné dílo světoznámého skladatele Antonína Dvořáka. Jeho poslední opera, která je ve světě neprávem opomíjená. Národní divadlo moravkoslezské je jediné n...

After the unequivocal success of Rusalka (1901), Dvořák was looking for another subject for an operatic adaptation. At the beginning of 1902, Jaroslav Vrchlický reminded him that he had already offered him his libretto Armida based on Tasso's Liberated Jerusalem about the love of the knight Rinaldo and the pagan sorceress Armida. This material has already been set to music by dozens of composers, including Lully, Händel, Mysliveček, Gluck, Haydn and Rossini. In 1887, he translated Vrchlický's epic into Czech, and soon after that he worked on it as an opera libretto. After Dvořák's initial rejection, Karel Bendl, Zdeněk Fibich and Karel Kovařovic considered setting it to music, but Vrchlický still hoped to have it set to music by Dvořák. The libretto fulfilled a number of demands that Dvořák had: it was a theme from pan-European culture, it contained many possibilities for detailing the environment and fantastic images. However, the composer was very concerned about the composition. After major vicissitudes in connection with textual changes, he completed the opera and prepared it for its premiere at the Prague National Theater in 1904. Although the reception by the audience was favorable, the unsuccessful production concept became the subject of sharp criticism. The strain during the preparation of the premiere and the disappointment over the result took its toll on Dvořák's deteriorating health. The composer died a few weeks after the premiere of Armida, on May 1, 1904. Armida impresses above all with its musical charm, it returns to the Ostrava stage after twenty years, and we firmly believe that by performing it we will celebrate the 170th anniversary of the birth of one of the greatest composers in our musical history with dignity. but the unsuccessful staging concept became the subject of sharp criticism. The strain during the preparation of the premiere and the disappointment over the result took its toll on Dvořák's deteriorating health. The composer died a few weeks after the premiere of Armida, on May 1, 1904. Armida impresses above all with its musical charm, it returns to the Ostrava stage after twenty years, and we firmly believe that by performing it we will celebrate the 170th anniversary of the birth of one of the greatest composers in our musical history with dignity. but the unsuccessful staging concept became the subject of sharp criticism. The strain during the preparation of the premiere and the disappointment over the result took its toll on Dvořák's deteriorating health. The composer died a few weeks after the premiere of Armida, on May 1, 1904. Armida impresses above all with its musical charm, it returns to the Ostrava stage after twenty years, and we firmly believe that by performing it we will celebrate the 170th anniversary of the birth of one of the greatest composers in our musical history with dignity.

English

Po jednoznačném úspěchu Rusalky (1901) hledal Dvořák další námět k opernímu zpracování. Na počátku roku 1902 mu připomněl Jaroslav Vrchlický, že mu již dříve nabízel své libreto Armida podle Tassova Osvobozeného Jeruzaléma o lásce rytíře Rinalda a pohanské kouzelnice Armidy. Tuto látku již zhudebnily desítky skladatelů, mimo jiné Lully, Händel, Mysliveček, Gluck, Haydn nebo Rossini. Vrchlický epos roku 1887 přeložil do češtiny a brzy na to jej zpracoval i jako operní libreto. Po počátečním Dvořákově odmítnutí o jeho zhudebnění uvažovali Karel Bendl, Zdeněk Fibich a Karel Kovařovic, Vrchlický však stále doufal ve zhudebnění Dvořákem. Libreto splňovalo řadu nároků, které Dvořák měl: jednalo se o námět z celoevropské kultury, obsahovalo mnoho možností pro drobnokresbu prostředí i fantaskní obrazy. Nicméně skladatel měl z kompozice velké obavy. Po velkých peripetiích v souvislosti s textovými změnami operu dokončil a připravil k premiéře v pražském Národním divadle v roce 1904. Přijetí obecenstvem bylo sice příznivé, ale nepovedené inscenační pojetí se stalo předmětem ostré kritiky. Vypětí při přípravě premiéry a zklamání nad výsledkem se podepsalo na Dvořákově zhoršujícím se zdravotním stavu. Skladatel zemřel několik týdnů po premiéře Armidy, 1. května 1904. Armida zaujme především svým hudebním kouzlem, na ostravské jeviště se vrací po dvaceti letech a pevně věříme, že jejím uvedením důstojně oslavíme 170. výročí narození jednoho z největších skladatelů našich hudebních dějin.

čeština

Armida by Dvořák, 토 12 5월 2012, 에서 (2012/2012), 감독 Jiří Nekvasil,, 지휘자 Robert Jindra, Jan Šrubař, Antonín Dvořák Theatre, Ostrava, Czech Republic

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