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may –august 2015 vol.XV no. martinů institute · enrico Pieranunzi, robert Kolinsky, (Piano) Three Czech Dances for two Pianos, H 324 Enrico Pieranunzi: Autour de Martin

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  • The BohuslaV MarTin FoundationThe BohuslaV MarTin instituteThe international MarTin CirClemayaugust 2015 / vol. XV / no.220 years of the bohuslav

    martin instituteopera juliette in frankfurtbohuslav martinand vtzslava kaprlov news & recordings

  • news



    3 highlights

    4 news

    5 incircle news

    reviews 6 dominoes and mosaiCs

    opera Juliette in FrankFurtSEVERIN KOLB

    8 smetana, dvok & martin open smetana litomylPETR VEBER

    10 plays oF mary: spiritually true, moderate, First-ClassPETR VEBER

    12 portrait the Centenary oF vtzslavakaprlov / part 1KARLA HARTL

    14 researchJuliette arnyi and bohuslav martinANNA ERCH

    16 interviewtwenty years oF the bohuslav martin institute / an interviewwith direCtor ale bezinaMARTIN FLAAR

    18 portraita birthday tribute to ale bezinaoFFered by patriCk lambert

    2 | martInrevue22015

    IT Is NO sEcrET that Bohuslav Martin hadfive siblings, of whom he knew only two:Frantiek and Marie. He never met his youngerbrothers, Antonn (b. 1884) and Jaroslav(b. 1886), as they died at a tender age. Hishalf-brother Karel, an extramarital child of hismother Karolina (nee Klimeov), was almost17 years older, and when Bohuslav was born hewas no longer living with the Martin family.

    According totheir sister Marie,he trained asa typographerat the Popelkaprinting shopon the square,where he alsoused to sleep.Later on, KarelKlime moved to Prague, where he settledpermanently.

    The Polika Museum collection includes twophotographs of Karel Klime (30 August 1873 23 November 1931). On the first, he is picturedas a child, together with his brother Frantiekand sister Marie. The first photo was probablytaken around 1885, at the time when theMartins did not yet live in the tower andBohuslav had yet to be born. The second isa portrait of Karel Klime at the age of 39.

    Karel was the only one among the Martinsiblings to have children: a daughter, Elsa(married name: Umlaufov), and a son, Karel.Owing in particular to their being in contactwith the family friend Marie Praanov, bothElsa and Karel were kept abreast of the artisticcareer of their famous uncle Bohuslav.

    Lucie JirgLov

    peephle into the bohuslav martin center in polika /10

    obituaryivan moravec / 19302015Ivan Moravec strived to devote every sparesecond of his life to the piano and to his musicallove affairs with Mozart, Beethoven, Debussy,ravel, and particularly chopin. That is why I holdhim in high esteem ever more for having sacrified,twice, a part of his closely guarded time to thename and work of Bohuslav Martin. Firstly, whenrequested by his old friend oldich F. Korte, hestudied and recorded three pieces from the etudesand Polkas piano cycle for the non-commercialBohuslav Martin Foundation cD in 2000. Thosewho know how pru dent Ivan Moravec was whenit came to expanding his repertoire will surelyappreciate it. Three years later, in 2003, he submit -ted to an interview with me that forever capturedhis account of meeting Bohuslav Martin in romein 1957. He depicted not only the content and topicsof their encounter, but also the overall atmospheredescribing everything from the composer's appear -

    ance and fashion sense to his intonation and theextraodinarily slow tempo of his speech. In thisinterview, I believe, he re vealed a great deal notonly about Martin, but, more importantly, abouthimself.


    TheinterviewwithivanMoraveccanbefoundin MartinRevueno.1,2003,orat

    < KarelKlime(ontheveryright)withFrantiekand Marie Martin

  • martInrevue22015 | 3



    20th annualBohuslav MartIn days 2015Prague, 22 november 20 December 2015

    125th Birthday of Bohuslav Martinunder the patronage of Minister of CultureDaniel Herman

    proloGues22 November 2015 / 7.30 pm> Prague castle, Spanish Hallorchestra of Prague castle Guard and PolicePetr nouzovsk (cello) vclav Blahunek (conductor)Memorial To Lidice, H 296Concertino for Cello and Small Orchestra, H 143Half-Time, H 142

    29 November 2015 / 7.30 pm> Lichtentejn Palace, Martin HallConcert of the Winnners of Bohuslav Martin Foundation Competition 2015 in the Field of piano

    FestIval1 December 2015 / 7.30 pm> Lichtentejn Palace, Martin Hallopening Concertroman Janl (Baryton), veronika Ptkov (Piano),czech radio childrens choir, Blanka Kulnsk and Luk Jindich (conductors)Sedlek QuartetKoleda from Bouquet of Flowers, H 260Chap-Book, H 214 (selection)Opening of the Springs, H 354

    2 December 2015 / 5.30 pm> rudolfinum, Suk Hallharpsichord recitalSonata for Harpsichord H 368Mahan esfahani (Harpsichord)

    4 December 2015 / 7.30 pm> Lichtentejn Palace, Martin Hallacademy chamber Soloists of Prague

    MartIn FesttaGe 2015 1529 november 2015Basel, Switzerland,

    15 November / 7.00 pm> stadtcasino Basel / Music hallLondon Symphony orchestraTom Hanus (conductor)(Pre-concert Talk 6,15 pm, Bernhard Dittmann,Hans Huber Hall)Symphony No 2, H 295Symphony No 5, H 310

    18 November / 8.00 pm> Basler Marionetten theateradditional performances: 2022.11.+2729.11.clair-obscur Saxophone quartet Who is the Most Powerful of the World?, H 133

    22 November / 7.00 pm> stadtcasino / hans huber hallHagen Quartett(Pre-concert Talk 6.15 pm, Istvn Hajdu)String Quartet No. 5, H 268

    25 November / 8.00 pm> tabourettliMarTIn In TaBoUreTTLI cello-comedyDuo calva: cellolitealain Schudel und Daniel Schaerer, violoncelloDominique Mller (Director)Dramaturgische Beratung: charles LewinskyTwo Pieces for two Cellos, H 377

    29 November / 7.00 pm> Museum tinguelyGuillermo Klein & the Jazzcampus Big Bandfeat. Mark Turner Guillermo Klein arrangement/composer/leadMark Turner tenor sax Students of Hochschule fr Musik/FHnWMartins works in arrangement for Big Band

    Martin exhibitiona travelling exhibition about Martins life andwork will be installed in the foyers of concertvenues. authors: Gabriele Jont and Sybille ryser

    CzeCh Centre and nonClassICal PreSenT: InspIred By MartIn21 October 2015 / 7.30 pm> The Forge, London, UKFour Songs on Czech Folk Poetry, H 282bisTwo Songs to the Texts of Negro Folk Poetry,H 232bisSpring, H 127Film en Miniature, H 148Sonata No. 3 for Violin and Piano, H 303 Lada valeov (Piano)Tereza-anna Pvratsk (violin)Lucie pikov (Soprano)Gabriel Prokofiev (DJ set)

    vojtch Spurn (conductor) robert Kruk (cello)Sinfonietta La Jolla for Piano and ChamberOrchestra, H 328Concerto No. 1 for Cello and Orchestra, H 196

    5 December 2015 / 7.30 pm> Lichtentejn Palace, Martin Hallczech Philharmonic choir Brno Petr Fiala ( choirmaster)Czech Madrigals, H 278 (selection)Hymn to St. James, H 347

    6 December 2015 / 7.30 pm> archa Theatre, PragueSouth czech Philharmonic Jan Talich (conductor)Gustav Brom orchestra vladimr valovi (conductor) Jan Simon (Piano)La Revue de cuisine, Suite from the Ballet,H 161AJazz Suite for Small Orchestra, H 172Le Jazz. Movement for Orchestra, H 168

    8 December 2015> rudolfinum, Dvok HallPrague Philharmonic choir Luk vasilek (choirmaster)Legend of the Smoke from Potato Tops, H 360Mount of Three Lights, H 349The Romance from the Dandelions, H 364Mikesh from the Mountains, H 375

    9 December 2015 / 7.30 pm> rudolfinum, Dvok HallSmetana Trio Piano Trio No. 3, H 332

    13 December 2015 / 7.30 pm> Lichtentejn Palace, Martin HallSoa erven (recitation) Karel Korek (Piano), a. o.Three Melodramas, H 82, 83, 84La Revue de cuisine, Jazz Ballet, H 161

    14 December 2015 / 7.30 pm> rudolfinum, Dvok HallPrague radio Symphony orchestra (Sor),Tom Brauner (conductor), Martin Kask (Piano),Daniel Wiesner and Miroslav Sekera (Piano)Concerto No. 3 for Piano and Orchestra, H 316Concerto for two Pianos and Orchestra, H 292

    15 December 2015 / 7.00 pm> national Theatre, PragueSoloists, choir and orchestra of nationalMoravian-Silesian Theatre in ostrava, Jakub Klecker (conductor), Ji nekvasil (Director)Three Wishes or Inconstancy of the Life, H 175

    16 + 17 December 2015 / 7.30 pm> Municipal House, Smetana Hall, PraguePrague Symphony orchestra Pietari Inkinen (conductor)Sinfonia Concertante for Oboe, Bassoon, Violin,Cello and Small Orchestra, H 322

    18 December 2015 / 19.30 pm > Lichtentejn Palace, Martin HallBenefit Concert for 20th anniversaryof the Bohuslav Martin Instituteenrico Pieranunzi, robert Kolinsky, (Piano)Three Czech Dances for two Pianos, H 324Enrico Pieranunzi: Autour de Martin(Improvisation)Impromptu for Two Pianos, H 359

    19 December 2015 / 7.30 pm> Lichtentejn Palace, Martin HallMartin voices Luk vasilek (conductor)Four Songs about Mary for Mixed Chorus, H 235Five Czech Madrigals for Mixed Voices, H 321

    20 December 2015 / 7.30 pm> rudolfinum, Dvok HallClosing ConcertPKF-Prague Philharmonia emmanuel villaume (conductor)Serenade for Chamber Orchestra, H 199

  • Petra Matjov

    Year of Czech Music 2014

    Vtzslava Kaprlov

    Saint Wenceslas Tradition

    151 _Tom Jamnk

    PKF Prague PhilharmoniaRafael Kubelk releases

    Czech Lute: new discovery

    152 _Jaroslav Krek

    Ale Bezina

    The Cecilian Music Society

    Jaromr Weinberger

    144 _

    Czech Music Quarterly is a magazine in English focused on Czech classical music. Czech Music Quarterly provides a wide spectrum of information for music professionals and the general music public. Czech Music Quarterly offers an interviews and portraits of Czech composers and performers, often with a special focus on contemporary classical music, information about current events, reviews and longer articles from leading Czech musicologists.

    Czech Music Quarterly is published every 3 months. Since 1995Please send orders to: Czech Music Information CentreBesedn 3, 118 00 Prague 1 Czech RepublicEmail: [email protected] Web:

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    At www.fl you can easily order electronic or printed subscriptions, as well as purchase separate electronic issues. A preview of all archived issues is available too.

    the IMC has a new member in the person ofcomposer Jitka Koeluhov, who introducesherself thus:

    In the chamber ensemble canticorum iubiloI sang the exquisite cantatas legendfromtheSmokeofPotatoTops and MikeshfromtheMountains, andof course TheopeningoftheSprings With thesame choir I also discovered Three Sacred Songsfor female choir with solo violin accompanimentIn 2009, the anniver sary of the composers death,I performed this in Stuttgart in Germany with mychoir, which I have led as choirmaster since 2002.I was a bit worried how well our czech thirds wouldgo down with a German audience weaned on thequartal-quintal harmonies of the excellent HugoDistler but we succeeded! The reviews describedit as heavenly beautiful! at the time, followingseveral years of additional singing tuition, I alsodared offer a solo programme including SongsononePage,newChap-Book and I even attemptedthe final scene from the opera Ariane. I wasenthused by the profun dity and modernity of the

    future in the sixth sym phony!) But what fasci -nated me the most realising the powerfulczechness imbued in this music! To me, BohuslavMartin is the most genuinely czech composer ofthe twentieth century. Yes, this music springs upwholly from czech soulfulness, the czech spirit and yet it is fully coSMoPoLITan! I know thatMartin had a strong desire to pass on his com -posers experience to the next generations I amhappy to attend his school at least by listening.The building of the Bohuslav Martin Foundationand Institute in Prague allows for extensive studyof this kind

    I am very glad and deeply honoured that oneof my recent compositions, HymnusV, whichI dedicated in memory of BM, has been taken upby the Martin Quartet itself and will beperformed at the Days of contem porary MusicFestival in Prague on 19 november this year.



    THe ancIenT town of Winchester in Hampshire inthe south of england, former capital of the kingdomof Wessex in King alfreds day, has for the past eightyears held a chamber music festival in the of the threads for this years programme was

    4 | martInrevue22015

    imc new


    martin in an ancient capital

    story in BMs inter pretation: the monstrousMinotaur reminds us of ourselves, pushing us toovercome this part of our personality!

    But my most important meeting was with thesymphonies of Bohuslav Martin. I was very luckythat at the time when I was composing my firstsymphony for the Prague Premieres festival, I hadthe honour of being friends with oldich F. Korte,who immersed me in Martins symphonic works.Later, I listened to them in Germany as somethingof a spiritual respite as a sacrament with grow -ing amazement about the compositional masteryand inherent message of this music. (For example,that it is possible to create a whole symphonicmove ment from one short motive, as is the case ofthe opening movement of Symphonyno. 3. or thestrength and hope emanating from the fourth!In the fifth that feeling of intimate pain in the semi -tone steps with a wondrously colourful orchestra purified by a humility that leads to a kind of choralprayer in the coda and that strength of vision mayhap for the whole of humanity and the far

    ful atmosphere for the festival. The programme alsocontained Mozarts StringQuartetin GmajorK 387.

    The same evening, in the Winchester Discoverycentre, Matthew Truscott and Philip Higham werethe performers in another Martin work from laterin the 1920s, the Duo for violin and cello the pro -gramme continued with Janeks concertino andDvoks Quintet with Double-Bass. again theaudience appreciated the works ingenuity and highspirits the reviewer described the rendition of theMartin as a formidable performance, culminatingin breathtaking cadenzas for each player.

    The only disappointment for some of the audi -ence was that no recordings of the Martin piecescould be bought at the cD stall as the performersat the festival had not made recordings of theseworks. The warm reception the Martin worksreceived should encourage the organisers toinclude further works in future years from laterperiods in the composers career.

    a photo of the players in rehearsal for the quar -tet performance can be found on the clarinetistsTwitter page at:

    czech music, including works by Dvok andJanek but what the Hampshire chroniclesreviewer Bruce edwards described as an unusualopening to the festival was Martins Quartet forclarinet, Horn, cello and Side-Drum from 1924. Theperformers included one of the festivals organisers,Kate Gould, on the cello, with robert Plane, clarinet,Sue Dent, horn and Joe richards, drum. The inven -tiveness and fun of the work drew great applausefrom the capacity audience in St Lawrences churchin the early afternoon of 30 april and set a wonder -

  • international martin CircleGeNeral iNfOrMatiON

    Members receive the illustratedMartinRevue published three timesa year plus a special limited edition cDcontaining world premieres, historicperformances and archival recordingsfrom the annual Martin Festival notobtainable commercially.

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    This year, Bohuslav Martin Instituteis celebrating the 20th anniversaryof its opening. More info pp. 1618.

    [Dear MeMbers,IF yOU ArE NEAr PArIs in January 2016, do not miss two exciting concerts withconductor and IMc president Jakub Hra:

    8 January 2016 > Hall of the French radio, ParisOrchestre Philharmonique de radio-FranceAlbert roussel: Suite No. 2 de Bacchus et ArianeBohuslav Martin: La Bagarre, H 155Bohuslav Martin: Double concerto, H 271Albert roussel: Symphony No. 3

    15 January 2016 > Hall of the French radio, ParisOrchestre Philharmonique de radio-FranceJosef suk: ScherzoBohuslav Martin: cello concerto No. 1, H 196Bohuslav Martin: Symphony No. 6, H 343Igor stravinsky: Scherzo

    [2015 subsCriPtioN PayMeNts We Would requesT members to forward their 2015 subscription pay-ments through their usual channels. A list of our international contacts:> For Great Britain:

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    subsection Membership or directly via bank account in prague (the number you can find at the same

    web page section).pleAse Add Your NAMe WheN You pAY viA BANK TrANsFer, so We CANideNTiFY Your pAYMeNT.Members who pay their subscriptions via the dvok society should continueto do so. Those wishing to pay in czech currency or by cash should contact us at [email protected]

    martInrevue22015 | 5


    E PR


    US I


    MartiN revue (formerly BohuslavMartin newsletter) is published by theInternational Martin circle in collabo ra -tion with the Bohuslav Martin Institutein Prague with the financial supportof the Bohuslav Martin Foundation.published with the financial supportof the Ministry of Culture of Czechrepublic, code no. MKCrX006z32y

    editors zojaSeykov&lucieHarasim,BohuslavMartininstituteJustinKrawitz(englishlanguageeditor)

    Publishers OfficeInternational Martin Circle, o.s.i: 22688846Boanovick14,18200 Praha8-Kobylisy,CzechRepublice-mail: [email protected]

    translation Hilda Hearne

    Photographs TheBohuslavMartinFoundationsand institutesarchive, collectionsof theBohuslav MartinCenterinPolika

    Graphic Design David Cgler

    Printing BOOM TISK, spol. s r.o.

    TheMartinRevueis publishedthreetimesa yearinPrague.

    CoverJuanitalascarroinoperaJuliette,TheKeyto Dreams,H253,operaFrankfurt,2015

    Issn 1803-8514MK r e 18911


    The Bohuslav MarTin CenTer in Polika offers an interesting, inter -actively conceived exhibition on the com -posers life and work. The modern display ofBohuslav Martins life and work is locatedin the historical building of the formercouncil school, which Martin attendedas a child. Consequently, the project alsocomprises a reproduction of Martinsclassroom, complete with period paintingand furniture. The centre also containsan audio-visual hall and study room.

    Bohuslav Martin Center Tylova 114, 572 01 Polika tel.: +420 461 723 857

    Magdalena Koen,IMC Patron

    Jakub Hra,President of IMC



    [CD DbM 2013 THE ANNUAL cD will be published soon, con-taining a historical recording of Lilian Fuchs.We kindly ask members who have not paidtheir sub scription to do via their usual chan-nels. The cD will be sent together with thesummer issue.

    We hope you are having a great year and asalways, keep us updated with your news,events, and suggestions!

  • from the press /Juliette von Bohuslav Martin an der operFrankfurt: Welt ohne Gedchtnis / Juliettein opera Frankfurt: a World Without MemoryWolfDieterPeterKultur heute, Deutschlandfunk, 22. 6.

    The author begins by summarising the operas plotand its surrealistic atmosphere. He follows thecombination of period scientific knowledge andartistic movements in the work (Freud and dreamanalysis, Surrealism, matters of natural science).Martins music contains extended harmonies, butit remains tonal. The reviewer heard echoes ofdIndy, Debussy, Poulenc, and Janek in the music,which was all taken into account by the opern- undMuseums orchester headed by conductor Sebastian

    Weigle. Juanita Lascarro was a seductive Juliette,Kurt Streits voice in the role of Michel wasbrilliantly daring. Director Florentine Klepperconceived his role as that of a contemporary manlooking for lifes happiness. The author greatlyappreciates the fluent and suggestive transforma -tions of the stage set.

    aus der versenkung / From time's oblivionKlausKalchschmidDie deutsche

    The author starts by reflecting the history of theworks stagings. He then describes the opera's plotact by act. In Martins music he finds echoes ofStravinskys rite of Spring, the cor anglais soloseems Tristanesque to him, at times he isreminded of Bartks Bluebeards castle. The set

    (scenographer Boris Kudlika) is stylised into the1950s. The review is useful also for its detaileddescription of the scenography. Kurt Streits(Michels) singing is lyrical, at times dramatic.Juanita Lascarro (Juliette) has a sparkling soprano,her character is as seductive as it is cold. Thereviewer also gives great praise of the orchestraconducted by Sebastian Weigle.

    auf ewig mein traum / Forever My

    Director Florentine Klepper approached the stagingas a blending of realistic sceneries, which createa surrealistic atmosphere on the border betweendream and reality. The orchestra headed by con -ductor Sebastian Weigle was able to sensitivelydifferentiate between various moods comic, tragic,


    second act. Kurt streit splendidly masters the roleof Michel, who is the centre of the action for theentire opera, as does Juanita Lascarro, a Juliettewith vigour and sensuality sup ported by the im -pressively insightful direction of sebastian Weigle.

    In the beginning of act two, the tropical forest literally being released from his niche existence is moved to the foreground and tips over thedomino constructions of the Little Arab. Themysterious blue illumination removes the sterileambience of the first act and abducts Michel ina dream world in which the love story between

    together by their sterile and lonesome atmo -sphere and appear to stem from EdwardHoppers fantasy. The colourfully dressed choirand the background actors contribute to themenacing mood by carrying out weird actions often synchronously which bereave them oftheir humaneness. The sequence of Michelsencounters in the mysterious dream worldevolves in front of this backdrop. The stagedesign team accompanies the reunion scene ofMichel and Juliette with TV flickering and whitenoise and anticipates the fatal gunshot of the

    Michel lepic, a parisian bookseller, returns toa small city to find a woman, Juliette, whomhe saw there three years earlier. With thisscene, an opera evolves that Martin himselfadmitted doesnt really have a plot an observation of which Norbert Abels,chief dramatic adviser of the Frankfurtopera, reminds us.

    The rather loosely connected dramaturgy ofJuliettes scenes, influenced by Auguststrindbergs station drama, puts the maincharacter Michel in manifold situations andencounters. clearly cut scenes are strungtogether like the dominoes which appear in theFrankfurt production in a symbolic way over andover again from the very beginning. The LittleArab plays with dominoes in the opening scene.chains of associations like those dominoes builda subtle net between the scenes. The stagedirection team draws inspiration from Martinsmusic which they perceive as made of stylisti -cally contrasting dominoes.

    contrasts and disparate elements of thelibretto are not flattened out in this productionbut collide in a dreamlike manner. The singledesign of the first act is fractured into differentcompartments: a cantina in log cabin style,a living room with wallpaper from the sixties,a tiny office, a waiting room with a flickering TVand, in the back, a tropical forest behind a show -case, like in a zoo. Those mosaics are held

    6 | martInrevue22015

    dominoes and

    Juanita Lascarro (Juliette) and Kurt Streit (Michel)

  • him and Juliette unfolds. In the moment of theerotic culmination a flock of humming birdsbuzz over the forest. yet the idyll dissolvesquickly, Juliette feels alienated from Michel andwants to leave him. suddenly, in the ensuingfight Michels gun is fired again and the rain -forest disappears behind a gigantic metallicwall, a net curtain, the scenery for Michels trial.

    The final act, which at first seems to easilyexplain the two previous acts, is situated inthe prosaically equipped central Office of theDream Administration. Dreamers, one afteranother, enter the office and disappear behind

    the purple curtain, the door to the world ofdreams. Dominoes fall out of one of the suit -cases which the hotel boy carelessly puts downand Michel starts playing with them. He invol -untarily triggers the domino effect as he findsout that every man appears to have a Juliettein his dreams. The main question for the stag -ing team - whether there is a line separatingdream and reality is answered most ad -mirably, since it is left ambiguous. The world ofdreams is linked to the office in different mutu -ally exclusive ways, paradox like the visualillusions by M. c. Escher. The first time the

    curtain opens up for the spectator, Michel ismirrored by a doppelganger. After wards, theroom behind the curtain presents itself haunt -ingly empty with dreamers meandering likezombies. There is no escape from the world ofdreams in this production: As soon as Michelvanishes in the room behind the curtain, hisdoppelganger enters the office through themain entrance.

    SeveriN KoLB

    Bohuslav Martin: Juliette, The Key to Dreams, H 253oper FrankfurtMusicpreparation: Sebastian Weigle, Stagedirection:Florentine Klepper, Sets: Boris Kudlika, Costumes:adriane Westerbarkey, lightingdesign: JanHartmann, Chorusmaster: Markus ehmann,Dramaturgy: norbert abelspremiered on 21 June 2015

    grotesque Kurt Streit as Michel was convincingand his voice was forceful. The directors conceptof blending dreams and reality was supported byBoris Kudlikas ever-changing scenography. JuanitaLascarro played Juliette like a fiery, dark-hairedcarmen. The end of the article contains informationabout B. Martins life and the circumstances of theworks genesis.

    auch Ihre trume berwacht das zentralbro / your dreams are alsoMonitored by Central officeeleonoreBningFrankfurter allgemeine Zeitung, 23. 6. 2015

    The author writes of the work as of the triumphantpremiere of an almost forgotten opera. She startsby mentioning the circumstances of the worksgenesis. Then he summarises the operas plot. In

    Juliettes musical leitmotiv she finds similaritieswith Debussys Mlisanda. The reviewer comparesthe operas surrealistic plot to carrolls alice inWonderland. of the singers, she mentions BeauGibson, Boris Grappe, Marta Herman, MariaPantiukhova, Michael Mccown. Juanita Lascarro(Juliette) has a darkly rich soprano, and it seemsthat she was fated for the role of Juliette. KurtStreits voice is strong and radiant. conductorSebastian Weigle guides the orchestra and choirto an unambiguous musical triumph. DirectorFlorentine Klepper and her production team thustook a big step towards rediscovering twentieth-century music.

    die erinnerung verliert sich im bersinnlichen/ Memories lost in the supernaturalAxelzibulski

    Frankfurter neue Presse, 23. 6. 2015

    This is the first-ever performance of the opera inFrankfurt. The work was staged in its new Germantrans lation [by Dietfried Bernet and ale Bezina].The article devotes much time to describing theset (Boris Kudlika), which follows the directorsartistic vision (direction by Florentine Klepper) andallows for a fluid transformation of scenery, justas the atmosphere changes fluently and dreamand reality blend in one surrealistic impression.according to the reviewer, the vocal part of theprotagonist Michel is an extremely difficult tenorrole, which Kurt Streit has mastered brilliantly.



    martInrevue22015 | 7


    Kurt Streit (Michel) and Nina Tarandek (a Little Arabian)

    Kurt Streit (Michel)


    os: b


    ra a



  • review

    acoustics duly enhanced the impression drierthan in a concert hall, all the drapery notwith -stand ing, still to a certain degree open-air, notso much reverberating, yet nothing fading, andmaking it possible for the individual instrumentgroups, as well as the splendidly interplayingorchestra, to be clearly distinguished. The kind ofacoustics that does not stun by mass of sound, inwhich the music is beautifully discernible. Owingalso to these favourable conditions, a number oftraits and details that make Martins musicso attrac tive could come out to the full theoscillation between Neo-classicism and impres -sions, between folksy tones (voiced by the solooboe, for instance) and modern fantasies, flowingbetween these poles, lyrical rises, syncopated

    score, edited by sharon Andrea choa. But whatis im por tant is how the czech Philharmonic per -formed the piece that evening. stating thattheir account was intriguing and immaculateonly partly conveys the impression they made.Ji Blohlvek conducted from memory, as hehas performed Martins Fourth frequently andknows it inside-out. It would seem that severalfactors coincided in the context of this concert,with the result being a truly remarkable sonicform. The genius setting, the atmosphere of theevening, the fresh, pleasant weather, the posi -tive state of mind, creative well-being, securityof per form ance All of them together con -tributed to the resulting mature, well-balanced,lucid and emotionally engaging form. And the


    THE 57th EDITION of the smetana Litomylfestival was launched by the czech Philhar -monic Orchestra, conducted by Ji Blohlvek.On a pleasant evening (11 June 2015) theyplayed before more than a thousand peopleat the auditorium in the chateau courtyard,presenting czech music in a perfectly unpre -tentious manner.

    During the first half of the concert, greatattention was drawn by the young pianistJan Barto, who acquitted himself admirablyin Dvoks notoriously difficult Piano concerto,which he delivered with a healthy ease andclearly defined approach. ()

    At the very beginning of the evening, Bartohad dazzled in another piece for piano and

    orchestra, the seldom heard smetana sketchMacbeth and the Witches, as arranged years agoby Jarmil Burghauser and then performed byradoslav Kvapil. ()

    The highpoint of the concert, though, wasBohuslav Martins Symphony No. 4, composedin the UsA in 1945. The work was included inthe programme in connection with the anniver -sary of the end of World War II. A certain rolewas also played by the fact that just beforethe start of the festival the Bohuslav MartinInstitute had presented to the public the firsttwo volumes of the complete Edition of thecomposers works, a project scheduled tobe rolled out over the next half century, withone of the volumes containing the symphonys

    8 | martInrevue22015

    smetana, dvok & martin

    The Litomyl Castle

  • positivity devoid of any flashiness, tempochanges, expressive intensity of the slowmovement The concert audience witnessedextraordinarily inspired moments, giving riseto the ideal account of the sym phony, whichserves to confirm its place among the classics.

    Never mind that, although part of an operafestival, the concert did not feature vocalmusic. smetana Litomyl can, and does, tran -scend the defined framework. The festivalshould and for the past few years actuallyhas offered more than just opera to itsaudiences, with the programmes made up ofa wider spectrum of classical music: in additionto operas, opera concerts, oratorios and variousvocal projects, they also include symphonic andchamber pieces, older and more contemporarymusic, cross-over, as well as film music. Lastbut not least, a festival has to have someprestige. The czech Philharmonic is able tosupply prestige in spades, and by its presenceand, most significantly, brilliant performanceat the opening evening, it duly provided it.

    martInrevue22015 | 9

    () THE VEry FIrsT cONcErT turned out very well. The czech Philharmonic Orchestra gavea splendid performance, excelling particularly in its second half, which featured BohuslavMartins Symphony No. 4. A joyous work connected with the aspirations at the end of WorldWar II, it was extremely befitting for this years anniversary. ()

    Prior to the concert, a large group of honorary guests got together to launch the first twovolumes of the Bohuslav Martin complete Edition. On this occasion, the fanfare from The epicof gilgamesh was played in several versions, opening the festival in a truly festive manner.Martin was born in the nearby town of Polika, yet the famous Litomyl native Zdenk Nejedldid not rate him excessively highly. Therefore, alongside the performance of the Fourth, it couldbe deemed a symbolic debt repayment on the part of Litomyl itself. ()

    JinDiCHBleKSDiARy (87)

    open smetana litomyl

    y Prof. Ji Hlav, Chairman of the Board of Bohuslav Martin Foundation

    < Ji Blohlvek