3 CD & 1 DVD - 004.2012 - (c) 2012

Bedřich Smetana (1824-1884)







Die Verkaufte Braut (The Bartered Bride)


Opera in three acts - Text by Karel Sabina (1813-1877)






Ouverture
7' 10" CD1-1
1. AKT
52' 50"
- Szene 1 - "Lasst uns jubeln, lasst uns singen" - (Marie, Jeník, Chor) 10' 09"
CD1-2
- Szene 2 - "So soll es doch zur Wahrheit werden heut?" - (Marie, Jeník) 2' 06"
CD1-3
- Szene 2 - Arie: "Brichts du je den Schwur der Treue" - (Marie) 5' 08"
CD1-4
- Szene 2 - Rezitativ: "Sonderbar ist deine Jugend" - (Marie, Jeník) 1' 14"
CD1-5
- Szene 2 - Duett: "Mit der ersten, wahren Mutter" - (Marie, Jeník) 8' 31"
CD1-6
- Szene 3 - "Wie gesagt, mein lieber G'vatter" - (Kecal, Krušina, Ludmila) 5' 42"
CD1-7
- Szene 3 - Rezitativ: "Freilich, Mícha, den kenn ich" - (Kecal, Krušina, Ludmila) 0' 59"
CD1-8
- Szene 3 - Terzett: "Ein braver Junge von trefflichem Herzen" - (Kecal, Krušina, Ludmila) 4' 49"
CD1-9
- Szene 4 - Quartett: "Da seht sie wandeln" - (Marie, Kecal, Krušina, Ludmila) 6' 11"
CD1-10
- Szene 4 - Rezitativ: "Jeník gibt ja nicht nach" - (Marie, Kecal, Krušina, Ludmila) 2' 10"
CD1-11
- Szene 4 - Finale (Chor): "Komm zum Tanze, holde Kleine" 5' 17"
CD1-12
2. AKT
48' 00"
- Szene 1 - "Der Gerstensaft ist doch ein wahrer Göttertrank" - (Jeník, Kegal, Chor) 6' 14"
CD2-1
- Szene 1 - Furiant 2' 20"
CD2-2
- Szene 2 - "Lie- lie- lie- liebes Kind" - (Vašek) 2' 55"
CD2-3
- Szene 3 - Rezitativ: "Ihr seid gewiss der Bräutigam" - (Marie, Vašek) 2' 06"
CD2-4
- Szene 3 - Duett: "Ich kenn ein Mägdlein schön und hold" - (Marie, Vašek) 9' 17"
CD2-5
- Szene 4 - Rezitativ: "Sie ist schön, sag ich dir" - (Kecal, Jeník) 0' 54"
CD2-6
- Szene 4 - Duett: "Nun, mein Lieber, höre doch" - (Kecal, Jeník) 10' 31"
CD2-7
- Szene 4 - Rezitativ: "Wenn du von Marie Ablässest" - (Kecal, Jeník) 4' 24"
CD2-8
- Szene 5 - "Wenn du wüsstest" 4' 48"
CD2-9
- Szene 6 - Finale: "Schnell ihr Leutchen" - (Kecal, Jeník, Krušina, Chor) 4' 32"
CD2-10
3. AKT
63' 00"
- Szene 1 - "Ich bin schon marode" - (Vašek) 4' 31"
CD3-1
- Szene 2 - Marsch der Komödianten 0' 54"
CD3-2
- Szene 2 - Rezitativ: "Kundgetan wird dem verehrlichen Publikum" - (Principal) 1' 20"
CD3-3
- Szene 2 - Skočná. Tanz und Produktion der Komödianten 6' 21"
CD3-4
- Szene 2 - Rezitativ: "O, das wird schön sein" - (Vašek, Esmeralda, Indianer, Principal) 5' 13"
CD3-5
- Szene 2 - Duettino: "An ein goldnes Schnürchen" - (Principal, Esmeralda) 2' 10"
CD3-6
- Szene 3 - Rezitativ: "O, ich bin unglüchlich!" - (Vašek, Háta, Mícha, Kecal) 1' 19"
CD3-7
- Szene 3 - Quartett: "Ei! Wie! Was dieser Trotz?" - (Vašek, Háta, Mícha, Kecal) 3' 17"
CD3-8
- Szene 4 - "Nein, das glaub ich nicht!" - (Marie, Krušina, Ludmila, Háta, Mícha, Kecal) 5' 10"
CD3-9
- Szene 5 - "Was wollt ihr zum Guckuk?" - (Marie, Krušina, Ludmila, Háta, Mícha, Kecal, Vašek) 1' 19"
CD3-10
- Szene 6 - Sextett: "Wohl bedacht, lieb Mariechen" - (Marie, Krušina, Ludmila, Háta, Mícha, Kecal, Vašek) 3' 16"
CD3-11
- Szene 6 - "O welch ein Schmerz, welch eine Qual" - (Marie) 7' 19"
CD3-12
- Szene 7 - "Mein lieber Schatz" - (Jeník, Marie) 5' 27"
CD3-13
- Szene 8 - Rezitativ: "Ei, mein Lieber, wartest du schon" - (Kecal, Jeník, Marie) 1' 46"
CD3-14
- Szene 8 - Terzett: "Vertraue mir, mein liebes kind" - (Kecal, Marie, Jeník) 4' 20"
CD3-15
- Szene 9 - Finale: "Sprich! Hast du, Mariechen, auch wohl bedacht" - (alle, Chor) 5' 43"
CD3-16
- Szene 10 - "Rettet euch, der Bär ist los!" - (alle, Chor) 4' 16"
CD3-17




BONUS: Film 1 - "Die verkaufte Braut" (The track numbers on the DVD and the CDs are identical)
180' 00" DVD
BONUS: Film 2 - Nikolaus Harnoncourt probt "Die verkaufte Braut"
16' 00" DVD




 
Anton Scharinger, Krušina, a paesant (Bariton) Philippe Harnoncourt, Stage direction
Elisabeth Kulman, Ludmila, his wife (Mezzosopran) Judith S. Morgane, Stage manager
Dorothea Röschmann, Marie, their daughter (Sopran) Christina Russ, Lighting manager
Yasushi Hirano, Mícha, a landowner ( Bass) Christian Bader, Technical direction
Elisabeth von Magnus, Háta, his wife (Mezzosopran)
Daniel Huber, Model making
Markus Schäfer, Vašek. their son (Tenor) Bettina Dreissger, Costume support
Kurt Streit, Jeník, Mícha son by a former marraige (Tenor) Lydia Schoberwalter, Costume manager
Ruben Drole, Kecal, a marraige-broker (Bass) Susanne Malik, Make up
Heinz Zednik, Principal, ringmaster (Tenor) Werner Kmetitsch, Photographer
Bibiana Nwobilo, Esmeralda, dancer and comedienne (Sopran)

Nenad Marinković, Indianer, an Indian comedian (Tenor)



Arnold Schoenberg Chor / Erwin Ortner, Choir director / Michal Kucharko, Assistant


Chamber Orchestra of Europe

Lorenza Borrani, Violin (concert master) Woward Penny, Violoncello
Maria Bader-Kubizek, Violin Luis Zorita, Violoncello
Sophie Besançon, Violin Enno Senft, Kontrabass
Fiona Brett, Violin Denton Roberts, Kontrabass
Christian Eisenberger, Violin Lutz Schumacher, Kontrabass
Lily Francis, Violin Clara Andrada, Flute
Matilda Kaul, Violin Eilidh Gillespie, Flute
Sylwia Konopka, Violin Ricardo Borrull, Piccolo
Stefano Mollo, Violin Kai Frömbgen, Oboe
Fredrik Paulsson, Violin Tjadina Würdinger, Oboe
Joseph Rappaport, Violin Michael Whight, Clarinet
Hĺkan Rudner, Violin Marie Lloyd, Clarinet
Aki Sauličre, Violin Matthew Wilkie, Bassoon
Henriette Scheytt, Violin Christopher Gunia, Bassoon
Gabrielle Shek, Violin Peter Francomb, Horn
Annika Thiel, Violin David Tollington, Horn
Martin Walch, Violin Jan Harshagen, Horn
Malin William-Olsson, Violin Peter Richards, Horn
Pascal Siffert, Viola Nicholas Thompson, Trumpet
Gert-Inge Andersson, Viola Julian Poore, Trumpet
Claudia Hofert, Viola Helen Vollam, Trombone
Simone Jandl, Viola Karl Frisendahl, Trombone
Wouter Raubenheimer, Viola Nicholas Eastop, Trombone
Dorle Sommer, Viola Jen Bjợrn-Larsen, Tuba
William Conway, Violoncello Dieter Seiler, Timpani
Luise Buchberger, Violoncello Karin Meissl, Percussion
Tomas Djupsjöbacka, Violoncello Daniel Piedl, Percussion


Nikolaus Harnoncourt, Dirigent

 
Luogo e data di registrazione
Helmut-List-Halle, Graz (Austria) - 2 luglio 2011
Registrazione live / studio
live
Producer / Engineer
Helmut Gesslbauer / ORF Steiermark / STYRIARTE Festspiele
Prima Edizione CD
Styriarte  - 004.2012 - (3 cd) - 60' 00" + 48' 00" + 63' 00" - (c) 2012 - DDD
Prima Edizione DVD
Styriarte  - 004.2012 - (1 dvd) - 196' 00" - (c) 2012 - NTSC 16:9 - Stereo

Notes
THE RECOVERED BRIDE
The premiere of the authentic German version

When Nikolaus Harnoncourt presented the styriarte 2011 central project, Smetana’s The Bartered Bride, at a styriarte 2010 press conference, it went without saying that the version performed would be the poetic 1892 translation by Brahms’ Viennese biographer, Max Kalbeck. It was this version, not the Czech original, which became a worldwide success after conquering the Vienna stage, and it was this version that seemed to us to be the closest to the original, despite the fact that Kalbeck’s flowery depiction of Bohemian provincial life does not exactly correlate to the social realities Smetana describes.
A seed of doubt, however, had already been sown at the press conference. Being familiar with Nikolaus Harnoncourt’s text-critical work methods, styriarte had commissioned a literal translation of Smetana’s opera. By studying this literal translation, Harnoncourt became ever more aware of the fact that Kalbeck’s translation, despite its virtues, had essentially created a different opera. The many other translations which were then considered for the project were deemed unsuitable for one reason or another and so, in autumn 2010, it was back to the drawing board for us.
Help came in the form of a coincidence, a deus ex machina if you will, when we discovered a printed piano score of Prodaná nevĕsta - The Bartered Bride - from 1872 in an online antiques catalogue. We bought it as it might prove to be a worthwhile source, and it turned out to be the piano score that Smetana himself had written and published two years after the final version of the piece had been performed in Prague - the first ever published piano score of a Czech opera. To our delight, we discovered a complete German text, which had been added to the score under the original Czech text, but the author was still unknown to us. Smetana had meticulously inserted the text and adapted the notes to each text version. This was obviously an edition to be used for performances.
Nikolaus Harnoncourt’s initial reaction to the text was excitement. This was obviously a German text that Smetana himself had used, and it was an excellent one! His second reaction was the discovery of a problem. All of the musical numbers were included in the score but none of the recitatives. The anxious question as to where to find the German recitatives therefore remained. At that point, we suddenly remembered a certain passage in Smetana’s diary from 1869 in which he wrote that he had paid a certain Emanuel Züngel 45 florins for a translation into German. Furthermore, Smetana scholar František Bartoš had written in an essay that Smetana had personally added it to his autograph score in red ink. The autograph score of The Bartered Bride, however, cannot simply be taken from a bookshelf lika a facsimile edition of Mozart’s Idomeneo, or accessed like a data file of Gershwin’s Porgy and Bess from the Library of Congress. There is no copy to lend; it can only be found in the vault of the Smetana Museum in Prague. If we wanted to find the missing text segments, we had to go to Prague.
I was very warmly received in the Smetana Museum, on the banks of the River Vltava, where I was given three volumes, one for each act of The Bartered Bride. Smetana’s immortal masterpiece in his own handwriting! Such a sacred object must of course only be handled with white gloves, though the natural awe it inspires had to be quickly set aside; there was work to be done. There are approximately 600 pages of notes, all in beautiful script, with the Czech text in Latin letters and the complete German translation inserted in red ink in German kurrent script. In the recitatives, which were the main reason for my visit, I found not only the German text written down in red ink, but also slight and subtle changes in the music, due to German declamation. Therefore, I had to copy not only the German text in the recitatives, but also the music.
By the time the museum closed for the night, I had just finished my work. for the next few weeks, the styriarte office in the Palais Attems in Graz was turned into a publishing house. Working closely, nearly daily with Nikolaus and Philipp Harnoncourt, we transformed the treasure we had unearthed into a piano score for our production in Graz. In December the score was completed and the singers could finally begin to learn their new parts.
Further investigations have left no doubt that styriarte 2011 would be presenting the German version of The Bartered Bride that Smetana himself had commissioned for audiences outside of his homeland but which was never performed, neither during his lifetime, nor after his death. Hence, the audience in Graz enjoyed a world premiere in 2011, the original performance of the forgotten first German version of the Bartered Bride, commissioned by the composer himself, translated by the poet Emanuel Züngel and reconstructed by the styriarte team.
Only later did we discover how amazingly closely the 1869 translation by Emanuel Züngel resembled the literal translation we had commissioned in 2010 from Kateřina Černá, a young Graz Slavist.

Mathis Huber

Nikolaus Harnoncourt (1929-2016)
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