Julietta (Martinů)

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Work data
Title: Julietta
Ota Horáková as Julietta, 1938

Ota Horáková as Julietta, 1938

Shape: Lyric opera in three acts
Original language: Czech
Music: Bohuslav Martinů
Libretto : Bohuslav Martinů
Literary source: Juliette, ou La clé des songes by Georges Neveux .
Premiere: March 16, 1938
Place of premiere: Prague National Theater
Playing time: approx. 2 ½ hours
Place and time of the action: A small town by the sea and its surroundings
people
  • Julietta ( soprano )
  • Michel [Lepic], young traveling bookseller ( tenor )
  • Commissioner / postman / forest ranger (tenor)

first act

Second act

  • three gentlemen (female voices)
  • Father Youth (Bass)
  • the old man (bass)
  • the little old woman ( old )
  • an old lady (mezzo-soprano)
  • Palm reader (old)
  • Souvenir dealer ( bass baritone )
  • a young sailor (mezzo-soprano)
  • an old sailor (bass)
  • (also old Arab, man with Tschapka, man with pith helmet, city dweller)

Third act

  • Civil servant (tenor)
  • Bellhop (mezzo-soprano)
  • a blind beggar (baritone)
  • Male voice behind the stage ( speaking role )
  • Convict (bass)
  • Engine driver (tenor)
  • Night watchman (speaking role)
  • a group of figures dressed in gray ( extras )
  • (at the end also both Arabs, both traders, man with pith helmet, city dweller)

Julietta (French: Juliette, ou La clé des songes , German: Juliette or Das Traumbuch ) is a “lyrical opera ” in three acts by Bohuslav Martinů . The libretto written Martinů himself. Literary basis is the drama Juliette, ou La clé des songes (1930) by Georges Neveux . The opera premiered on March 16, 1938 in the Prague National Theater.

action

The bookseller Michel visits a small town by the sea. He is looking for Julietta, a beautiful young woman he once met there, and now meets a society that has lost memory and no longer has any sense of time. Nevertheless, he finds what he is looking for, but it disappears again. Finally, like the rest of the people, he loses himself in a surreal dream world in which reality and illusion, space and place as well as past, present and future can no longer be separated. There are police officers, commissioners, criminals, beggars, night watchmen and gray figures and again and again the voice of Julietta, where fantasy and reality merge into one another.

Martinů himself summarized the key message of his opera as follows:

“The play is a desperate struggle to find something stable on which man can lean, something concrete like memory or consciousness which does not disappear as soon as it is grasped or transform into tragic situations as soon as it is seized .... Through a whole network of unforeseen situations and illogical conclusions runs the thread of human memory, but if this thread is cut, we enter a world where man's deepest desire is to renew his memory. Pick up the thread of the past, even somebody else's, and make it his own ... but if man is unable to maintain his own stability, and keep his common sense, he must remain in this timeless world of no memory. "

“The game is a desperate struggle to find something stable to lean on, something tangible like memory or awareness that doesn't go away once you grab it, or turn into tragic situations once you grab it ... through the thread of human memory runs through a whole network of unforeseen situations and illogical conclusions, but when the thread is cut, we enter a world in which the deepest desire of man is to renew his memory. Pick up the thread of the past, maybe even someone else's, and make it your own ... But if a person is unable to maintain his own stability and keep his mind, he must remain in this timeless world without memory. "

- Bohuslav Martinů : quoted by F. James Rybka after Brian Large : Martinů.

first act

Place of a small port

On the right side there are two houses, one very small, the other slightly larger with an upper floor and a window. On the left the shops of a bird and fish trader. A lamp above it. In the background a path leads to the harbor. A ship's mast and in the distance a fog lamp.

Scene 1. Michel appears with his suitcase in hand and looks around. A little Arab playing on the ground tells him that the Hôtel du Navigateur where he wants to stop doesn't exist. He couldn't show him another hotel either, because he had no legs. The Arab's father, on the other hand, shows him the hotel right on the quay and adds that there is no one in town without legs. Michel enters the hotel, followed by the old Arab. The little Arab resumes his game.

Scene 2. The bird dealer and the fish dealer step out of their shops curiously. You think you've heard someone, but can't remember anything. The little Arab affirms that nobody can remember anything.

Scene 3. A man with a capka looks out of the window above the second shop because he feels disturbed by the noise in the square. Everyone is confused. The two saleswomen withdraw into their shops, distraught.

Scene 4. The little Arab asks the man with Tschapka to play his accordion. Both dream - the Arab of a beach with a sailing ship, the man of a small train station. You feel that something is wrong.

Scene 5. A man in a pith helmet steps onto the stage from the right and asks for silence in a boastful manner. He claims that he will shortly be leaving on his steamboat. The others accuse him of lying. Michel calls for help from the hotel because he is attacked with a knife.

Scene 6. A superintendent appears from the left to see the cause of the commotion. Neither the man in the helmet nor the man in the chapka know anything. When Michels calls again, the inspector demands entry into the house.

Scene 7. Michel informs the inspector that he has been forced to tell the entire story of his life. The inspector then explains to him that all the residents of the city have lost their memories and are trying to compensate for the memories of strangers who they then take to be their own. He is amazed when Michel assures him that he can still remember everything. The men with helmets and Tschapka join the conversation. More residents are added. Suddenly nobody knows what it's all about. The inspector thinks he should arrest Michel, but then changes his mind. However, he makes it a condition that Michel answer his questions. The man with the Tschapka, the man with the helmet and the old Arab want to ask questions too. The Commissioner would like to know what his oldest childhood memory is. Michel replies that this is probably a mechanical toy duck that could croak. Since no one has been able to remember anything more than ten minutes ago, the law enforcement officers appoint him mayor. He receives three insignia: a hat that he can wear under his arm if he ever wants to remain undetected, a pistol that he must not use under any circumstances, and a parrot that will remind him of his office every quarter of an hour. Michel rejects this honor. He would like to return home. The commissioner explains to him that this is not possible. Instead, Michel should go to the town hall to tell citizens his childhood memories. The commissioner removed with the residents. The two Arabs withdraw into a house.

Scene 8. Michel has stayed behind with the men in helmets and chapka. You are puzzling over Michel's origins. Michel wants to know more about his strange appointment as mayor, but the two of them can't remember it. The man in the helmet asks him to tell his story. Michel informs them that he was born in Périgueux and that he inherited a small bookshop in Paris from his parents. Since then he has been traveling around the country with his books. One afternoon he arrived in a small town and heard a woman's voice singing through an open window. It was the most beautiful girl you could imagine. Afraid of falling in love, he left on the first train the next morning, but since then he has heard her voice repeatedly in his dreams. Today he returned to this city to find it again. The man in the hat doesn't believe him. He is certain that this city has no train station at all. It is now evening, and the two traders announce that they want to close their shops and that Michel has to go. The bird dealer notices his parrot and thinks he has stolen from her. Michel asks the man with the helmet as a witness for help, but he can no longer remember. Everyone withdraws and leaves Michel alone on the square.

A young girl appears in the window on the first floor. It's Julietta, and she actually seems to recognize Michel. But above all she wants to know whether Michel thinks she is beautiful. She tells him to wait while she goes back to her apartment. Meanwhile the commissioner returns. He is now dressed as a postman and no longer remembers his previous position. Instead, he tells Michel that as a newcomer, he cannot expect any letters because he was only delivering three-year-old letters - people would prefer old letters. Gradually it occurred to Michel that everything was just a dream. The postman says everyone here thinks that. He suggests a game of cards to find out if it's true. Whoever draws the first king loses and is the dreamer. But both only draw different cards. From this the postman concludes that none of them are dreaming. The postman is on his way, and Julietta appears again at the window, pleased that Michel is still there. Michel tells her about his love. She asks him to wait for her on the edge of the forest at the crossroads by the well, where she wants to explain everything to him.

Second act

In the forest, at the intersection of the four paths; in the background a small fountain

(The decoration of the first act remains in place for the intermezzo.)

Scene 1. Michel is sitting alone at the fountain and playing with the stones. Three men (women in travesty, two in gray clothes, the third blue with a hunting horn) wander through the forest in search of a celebration and loudly shout for Julietta.

Scene 2. A stooped man, father youth, comes to Michel with a basket full of bottles of wine and tells him that he is telling other people old stories in order to bring back their memories.

Scene 3. A hunting horn sounds behind the scene. An old man and a little old woman greet Father Youth. Meanwhile, Michel is hiding behind the fountain. The old people talk in hushed voices, as if in a dream, about their supposed memories of their youth.

Scene 4. After the old people have left, the palm reader, wearing a red cloth, comes forward from the background. It claims to be able to read the past rather than the future. Although her attempt to name Michel's grandmother's eye color does not match Michel's memories, she insists that she is right and thereby confuses Michel. When she pretends to be able to interpret dreams, Michel tells him about a large forest, a small tavern and a crossroads. The palmist recognizes jealousy and love in it. She vaguely warns Michel of danger and withdraws into the darkness. Father youth is gone too.

Scene 5. Julietta arrives at last. She and Michel greet each other happily and call each other their names for the first time. Julietta can no longer remember their first meeting. But Michel assures her that he has never forgotten her. Both declare their love for each other. An echo repeats her words.

Scene 6 (A). A souvenir dealer praises his goods: old photographs from Egypt, Spain and Italy. Julietta already “remembers” a vacation together with Michel in Spain. Michel doesn't want to know anything about these forgeries. He promises Julietta that he will tell him his real memories instead. The seller moves on, disappointed.

Scene 6 (B). Michel reports to Julietta about their first meeting. He was dressed in gray and carried a suitcase made of crocodile skin. She reacted with laughter to his wave. Julietta is initially disappointed that nothing more exciting should have happened. After some thought, however, she remembers: She laughed because he reminded her of the largest of the stuffed crocodiles in her apartment. Horn sounds from the forest. Julietta loses interest in Michel and says goodbye. When Michel wants to accompany her home, she screams that he should leave her alone. He lets her go and looks after her as she disappears into the forest. Then he pulls the pistol out of his pocket and aims in her direction. A shot is fired and Julietta screams. Michel can't believe he actually shot. He runs in the direction in which Julietta disappeared.

Scene 7. The old Arab, the man in the pith helmet, the man with the Tschapka and other residents come from the other side. They seem to be looking for something on the floor. Michel tries to hide, but is discovered by the old Arab. People want to know who shot. You are a tribunal. The man with Tschapka introduces himself as a public prosecutor. The man with Tschapka takes on the job of a judge and sentences Michel to death. The old Arab is the hangman. Then the palmist appears and whispers to Michel that he only needs to tell a story from his youth so that they forget everything. Michel tells them the supposed memories of Juliettas from Spain and gradually leads them into the forest. The curtain falls.

Intermezzo (scene 8, in front of the curtain). After Michel escaped the tribunal, he meets the commissioner from the first act, who is now dressed as a forest ranger. He tells Michel that he himself fired the shot to hunt a coot. The ranger shows Michel the way to the city and moves away.

Scene 9. Michel is back in town. The ship has now docked and two sailors are playing cards on the catwalk. Michel asks her to check on Julietta in the woods. They get a stretcher out of the ship and go into the forest.

Scene 10. The man with the pith helmet asks Michel if he is the passenger who is expected on his ship. Michel confirms this. He approaches Julietta's house.

Scene 11. The two sailors return with the empty stretcher. They only found a scarf, but no sign of Julietta. Michel takes the shawl. The sailors go to the tavern. Michel knocks hard on the door of Julietta's house.

Scene 12. Outraged by the disturbance, an old lady opens the door. Michel asks her if Julietta has returned. The lady cannot remember her. She refuses to let Michel in and slams the door.

Scene 13. After a while the young sailor comes out of the tavern and asks Michel for the cloth. Michel asks if he can remember what he said when he arrived. The young sailor thinks he said nothing at all. The man with the pith helmet announces the upcoming departure. When Michel steps onto the catwalk, Julietta's voice can be heard in the distance, lamenting the loss of her lover. Michel wonders about the song. He enters the ship. The curtain goes down slowly.

Third act

A space that looks like a travel agency

In the background a staircase and a door. Two more doors left and right. Near the left door there are small doors to an office with the sign “Arrival”. On the other hand “departure”.

Scene 1. When the curtain is raised, an officer can be seen slumbering in front of the departure office. After a while, Michel enters through the back door and looks around. He panics for a moment because he thinks he is trapped. Then he spots the officer and wakes him up. He learns that he is in the central dream office like every night. In reality, he is lying in his bed and dreaming at the same time. He, the official, is the only one who doesn't dream.

Scene 2. A bellhop enters. Like last time he would like to go hunting Indians on the prairie with Buffalo Bill and hopes to see a certain girl again. Although the officer explains that Buffalo Bill is off today, the man takes a ticket. He only has a few minutes before his alarm clock rings.

Scene 3. A blind beggar gets on the official's nerves with his awkward and overly polite conversation. He wants to see the areas that are depicted in the advertising brochures of foreign countries. The officer suggests a destination, but then determines that beggars are only allowed to dream on Tuesday - but today is Wednesday. The beggar apologizes for not being able to come the day before because it was too restless to sleep in the sobering cell. The officer promised him that he could still see the girl Julietta he was looking for on Tuesday. This name caught Michel's attention. He demands to be able to return to his dream one more time. The officer warns him that this is putting himself in great danger. He will understand when the gray-clad men appear.

Scene 4. The bellhop returns excited from his dream. When he raves about a girl dressed as a savage, Michel asks him for her name. His name is Julietta. A man's voice behind the stage calls out angrily for the bellboy - his boss has caught him sleeping.

Scene 5. A convict who has been sentenced to life imprisonment wants to dream one last time of a large room - with windows whose bars crumble at the slightest touch. He also wants to see the little girl with the red hair bow again.

Scene 6. A man who is completely black with smoke enters from the right door and sits down, exhausted. It is the locomotive driver of the Orient Express who wants to meet his deceased daughter again. He shows the officer an album with a photo of the girl. When Michel takes a look at it, he notices that all the pages of the album are blank.

Scene 7. Meanwhile the convict has returned. Michel learns to his astonishment that his girl is also called Julietta. He notices that there are some people walking back and forth in the background. The officer explains to him that these are the gray-clad men who have not awakened from their dreams. If Michel stays here too long, he will become like her and have to stay forever. Michel promises to be careful, but wants to wait until the last moment. Then he notices that the officer is gone. He calls for him.

Scene 8. Michel prepares to leave. At that moment he hears Julietta's voice behind the door calling his name. However, he cannot open the door. The voice of the night watchman announces the imminent closure of the facility. Julietta begs Michel to ignore it and stay with her. Despite further warnings from the guard, Michel cannot break away from Julietta. But she no longer answers.

Gradually part of the set of the first act appears with the two Arabs. In a monotonous voice, the little Arab tells his father that a gentleman is looking for the Hôtel du Navigateur. The old Arab replies that the hotel is here. An echo confirms this. The two saleswomen, the man with the pith helmet and other residents now appear like marionettes. The dream action could start over.

layout

Harry Halbreich pointed out that the character of Michel had some similarities with the passive characteristics of Martinů's own personality. Michel lacks the "masculine features, the sober reason, also the pure joy of the manual work and the intellectual achievement", but it concerns a "enthusiastic idealist in search of the eternally feminine as the embodiment of youth, beauty and peaceful Harmony". At the end of 1937, shortly after the composition was completed, Martinů first met his love Vitulka Kaprálová, who for him became the "true embodiment" of Julietta.

Musically, the opera combines three different styles - the Czech (Moravian) tradition of Leoš Janáček , the French impressionism of Claude Debussy (especially his opera Pelléas et Mélisande ) and the neoclassical style of the Groupe des Six . The extremely colorful sound language manages with an expanded tonality . The “Moravian cadenza”, first used by Leoš Janáček in 1918 in the rhapsody Taras Bulba , is used here so succinctly by Martinů that it became a hallmark of his music from then on. Typical features are a transverse stand and the resolution from the second stage.

{\ override Staff.TimeSignature # 'stencil = ## f \ cadenzaOn <gf' g 'b' e ''> 1 <ad 'fis' a' d ''> \ cadenzaOff}

Most of the action takes place in the declamatory dialogues, which ensures the text is understandable. There are no great arias. Julietta's song “Moje láska v dálce se ztratila” (“My love has vanished into the distance”) is the only one of the entire opera.

{\ tempo 4 = 60 \ set Score.tempoHideNote = ## t \ override Staff.TimeSignature # 'stencil = ## f \ cadenzaOn \ [es''8 ^ \ markup {\ italic {Poco Andante}} d' 'c '' 4 \] d''8 \ bar ";" es' '! 4 es''8 d' 'c' 'bes'! d '' c '' \ <es ''! f '' g''4 \! d '' \ bar ";" c''4 bes'! 8 es' '! 4 c' '\ bar ";" r1 \ fermata \ bar ";" c''8 c '' d '' d''4 es ''! d''8 c '' bes'! r bes' \ <es' '! 4 f' '\! c''8 r es' '! 4 c' 'r8 bes'! 8 es''! f '' \ [g '' fis''4 dis '' \ fermata \] \ bar "|." \ cadenzaOff} \ addlyrics {Mo - je lá - ska "v dál" - ce se ztra - ti - la, za ši - ré mo - ře, té - to no - ci. "S náv" - ra - tem hvě - zdy na ne - bi, zda vrá - té se, vrá - tí i mo - je lá _ - ska! }

It is noticeable that Martinů repeatedly repeats entire sections in new contexts. They thus become symbols for certain images of the dream world. There are also memory motifs , which, however, he does not consistently process as leitmotifs .

orchestra

The orchestral line-up for the opera includes the following instruments:

Work history

Emergence

Martinů wrote the libretto for this opera himself. It is based on the play Juliette, ou La clé des songes by Georges Neveux, composed in 1927 and premiered in 1930 at the Theâtre de l'Avenue in Paris . This piece was received very controversially at the premiere, but later gained greater acceptance. Martinů, who probably got to know it in 1932, was enthusiastic about the subject and the language of the work. For years he had already dealt with “questions of the merging of dream and reality, of past and present as well as the split in personality” and approached surrealism . Neveux's play is considered one of the main works of this movement.

Martinů adapted the drama into a libretto with the author's consent. He wrote the first scenario in French, but then opted for a Czech translation. The composition was written between May 17, 1936 and January 24, 1937. He dedicated it to the conductor Václav Talich . The first act was completed on June 17, 1936, the second on November 3, 1936 and the piano reduction on November 15, 1936. During this time Martinů composed several smaller stage works. Although he shortened the text of the original by more than half, the structure and much of the content was retained. In contrast to the original, in which Michel remains unsure whether he should remain in the dream world, the opera switches back to the opening scene at the end. Martinů later attempted to translate it back into French himself, which he was working on and almost completed shortly before his death in his sickbed. It was only discovered in the spring of 2003 by Harry Halbreich in Polička and is largely based on Neveux's original.

premiere

The first performance took place on March 16, 1938 in the Prague National Theater under the musical direction of Václav Talich. The production was done by Jindřich Honzl , the sets by František Muzika and the choreography by Joe (Josef) Jenčík. The leading roles were sung by Jaroslav Gleich (Michel) and Ota Horáková (Julietta). The other participants were Karel Hruška (commissioner / postman / forest ranger), Štěpánka Štěpánová (little Arab), Luděk Mandaus (old Arab and convict), Ema Miřiovská (bird dealer), Marie Pixová (fish dealer), Zdeněk Othelmava (man with tropics) Jan Konstantin (man with a chapka and souvenir dealer), Naďa (Anna) Kejřová, Marie Budíková and Anna Petridesová (three gentlemen), Josef Celerin (young father), Josef Křikava (old man), Marie Veselá (little old woman), Božena Kozlíková (old lady), Marie Podvalová (palmist), Josef Vojta (young sailor and engine driver), Josef Munclinger (old sailor), Miloslav Jeník (civil servant), Antonie (Táňa) Tomanová (bellhop), Stanislav Muž (blind beggar), Emil Bergmann (male voice behind the stage) and Hanuš Thein (night watchman).

The production was a great success. Neveux, who was present at the premiere, said that this was the first time he had heard his work. Due to the political situation, the work was no longer played in Czechoslovakia in the next few years, and it was initially difficult to find its way onto the repertoire abroad.

More productions

The German premiere under the direction of the conductor Ludwig Kaufmann took place in the presence of the composer on January 25, 1959 in the Hessian State Theater Wiesbaden . Kaufmann also created the German version of the text. Walther Pohl directed the set, Ruodi Barth set the stage and Georg Paskuda sang the role of Michel . Although the audience initially had difficulties with the work, it subsequently reacted with great applause.

In 1962, in the Salle Gaveau in Paris, a greatly abridged concert performance in French (translation: B. Horowitz) under the conductor Charles Bruck was played and broadcast on the radio.

In Prague, Julietta was performed again on April 5, 1963 under the direction of Jaroslav Krombholc - this time in a production by Václav Kašlík with a set by Josef Svoboda . Based on this production, a CD with Ivo Žídek as Michel and Maria Tauberová as Julietta was released. This production was also played in Hanover in 1965 and was very well received by the public there. George Alexander Albrecht conducted here . Theo Altmeyer sang Michel.

In 1976 there was the scenic French premiere at the Théâtre des Arts in Rouen with Anne-Marie Blanzat in the title role and Rémy Corazza as Michel. Paul Ethuin was the conductor, Jean-Jacques Etcheverry directed, and Jean-Denis Malclès was in charge of the stage design.

The British premiere took place on April 5, 1978 at the London Coliseum by the New Opera Company in collaboration with the English National Opera . Charles Mackerras was the musical director, Anthony Besch directed , and John Stoddart set the stage. Sally Burgess sang the title role . An uncut English version was played by Brian Large .

The work is now being played with increasing frequency:

Derivative works

Julietta was the composer's most important work, with which he kept busy until the end of his life. In April 1939 his Three Fragments from the opera "Juliette" were premiered in concert in the Vieux-Moulin , for which he used the original French text Neveux '. These are (1) the third scene of the second act, (2) the fourth and fifth scenes and the end of the second act, and (3) the final scene of the third act with the orchestral interlude. For the pianist Rudolf Firkušný Martinů also arranged the third scene of the second act from memory for piano in 1941 (?). In the third movement of his 6th symphony (1946) he quoted bars 45 to 58 of the fifth scene of the second act.

In 1969, the composer Zbyněk Vostřák set up an orchestral suite from individual orchestral parts of the opera in a sequence based on purely musical criteria.

Recordings

  • 1962 - Charles Bruck (conductor), Orchester Lyrique de l' ORTF Paris, Chorale Madrigal.
    Andrée Esposito (Julietta), Jean Giraudeau (Michel), Joseph Peyron (Commissioner), Bernard Demigny (man with helmet), Berthe Kal (little Arab), Lucien Lovano (old Arab and the old), Irma Kolassi (the little old) , Solange Michel (old lady).
    Live, in concert from Paris, without scenes 7, 8, 10 of the second act and scenes 4 and 6 of the third act.
    Chant du monde CD: 278 995/6.
  • 1964 - Jaroslav Krombholc (conductor), orchestra and choir of the Prague National Theater .
    Maria Tauberova (Julietta), Ivo Zidek (Michel), Antonin Zlesák (Commissioner), Zdenek Otava (man with helmet), Václav Bednár (man with Tschapka), Ivana Mixová (little Arab), Vladimir Jedenáctic (old Arab), Jaroslav Horácek (the old man), Milada Cadikovicova (old lady).
    Studio shot, complete.
    Supraphon SU 3626-2 612 (2 CD), Supraphon LP: SUA 10611/13 (3 LP).
  • August 17, 1991 - Pinchas Steinberg (conductor), orchestra and symphony orchestra of ORF Vienna.
    Lucia Popp (Julietta), Denes Gulyas (Michel), Helmut Wildhaber (commissioner), Claudio Otelli (man with helmet), Hans Franzen (man with Tschapka and the old man), Nelly Boschkova (little Arab), Matteo de Monti (old Arab ), Angelika Kirchschlager (old lady).
    Live, in concert from Salzburg.
  • November 13, 2002 - Marc Albrecht (conductor), Richard Jones (staging), orchestra and choir of the Paris Opera .
    Alexia Cousin (Julietta), William Burden (Michel), Yvan Mathiak (Commissioner), Laurent Naouri (man with helmet), Karine Deshayes (little Arab), Christian Tréguier (old Arab), Alain Vernhes (the old), Martina Mahé ( old lady, fishmonger).
    Live from the Opéra Garnier Paris.
  • July 2002 - Dietfried Bernet (conductor), Katja Czellnik (production), Wiener Symphoniker , Bregenz Festival Choir.
    Eva-Maria Westbroek (Julietta), Johannes Chum (Michel), Eberhard Francesco Lorenz (Commissioner), Matteo de Monti (man with helmet), Richard Salter (man with Tschapka and the old man), Susanne Reinhard (little Arab), Adalbert Waller (old Arab), Hanna Fahlbusch-Wald (old woman and bird dealer), Sulie Girardi (old lady).
    Live from Bregenz; German version by Dietfried Bernet and Ales Brezina.
    Koch Edition Bregenz Festival VMS 106 (3 CDs).
  • 2017 - Jaroslav Kyzlink (conductor), Zuzana Gilhuus (production), Tomáš Kypta (costumes), Radim Vizváry (choreography), orchestra and choir of the Prague National Theater .
    Alžběta Poláčková (Julietta), Peter Berger (Michel), Ondřej Koplík (commissioner, civil servant, postman, forest ranger), Marek Gurbal (man with helmet), Jiří Hájek (man with Tschapka, souvenir dealer), Michaela Zajmi (little Arab, bellhop) , Yevhen Shokalo (old Arab, convict), Ivan Kusnjer (the old, old sailor), Petr Levíček (policeman), Stanislava Jirků (palm reader), Lucie Hájková (bird dealer), Yvona Škvárová (fish dealer), Jan Šťáva (old man, Beggar), Michal Bragagnolo (young sailor), Milan Stehlík (night watchman).
    Video; live from Prague.
    Internet stream at Operavision.

literature

  • Ivana Rentsch : echoes of the avant-garde: Bohuslav Martinůs operas from the interwar period (= supplements to the archive for musicology. Volume 61). Steiner, Stuttgart 2007, ISBN 3-51508-960-8 .
  • Erik Entwistle: "Toje Julietta": Martinu, Kapralova and Musical Symbolism. In: The Kapralova Society Newsletter. Volume 2, Issue 2, Fall 2004 ( online, PDF ).

Web links

Commons : Julietta (Martinů)  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j k l Edelgard Spaude: Julietta. In: Piper's Encyclopedia of Musical Theater . Volume 3: Works. Henze - Massine. Piper, Munich / Zurich 1989, ISBN 3-492-02413-0 , pp. 696-698.
  2. ^ A b F. James Rybka: Bohuslav Martinů. The Compulsion to Compose. Scarecrow, Plymouth 2011, ISBN 978-0-8108-7761-0 , pp. 72-74.
  3. ↑ a b c d e f g h i j k l Harry Halbreich : Bohuslav Martinů. Catalog of works and biography. Second, revised edition. Schott, Mainz 2007, ISBN 978-3-7957-0565-7 .
  4. ↑ Erik Entwistle: “Toje Julietta”: Martinu, Kapralova and Musical Symbolism. In: The Kapralova Society Newsletter. Volume 2, Issue 2, Fall 2004 ( online, PDF ).
  5. ↑ a b c d e f Jan Smaczny:  Julietta. In: Grove Music Online (English; subscription required).
  6. ↑ a b c d e f Ulrich Schreiber : Opera guide for advanced learners. The 20th century III. Eastern and Northern Europe, branch lines on the main route, intercontinental distribution. Bärenreiter, Kassel 2006, ISBN 3-7618-1859-9 , pp. 203-207.
  7. ↑ Cast details for the Prague National Theater on March 16, 1938 , accessed on July 4, 2018.
  8. ↑ Reclam's Opernlexikon (= digital library . Volume 52). Philipp Reclam jun. at Directmedia, Berlin 2001, p. 1357.
  9. ↑ a b c d Julietta. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 492-493.
  10. ↑ Michael Kennedy: Bewitched but never bamboozled. Review of the performance in Leeds 1997. In: The Telegraph , October 18, 1997, accessed July 3, 2018.
  11. ↑ Anthony Holden, Opera North 2003 Performance Review. In: The Guardian , March 30, 2003, accessed July 3, 2018.
  12. ↑ Catherine Scholler: Review of the performance in Paris 2002 on forumopera.com , accessed on July 3, 2018.
  13. ↑ Martinů Festtage ( Memento from July 1, 2015 in the web archive archive.today ).
  14. ^ Detlef Brandenburg: Purchased dreams. Review of the performance in Bremen 2014. In: Die Deutsche Bühne , March 30, 2014, accessed on July 3, 2018.
  15. ↑ Viktoria Knuth: JULIETTA by Bohuslav Martinu in Frankfurt - everything is just a dream. Review of the performance in Frankfurt 2015 on theaternomadin.de, accessed on July 3, 2018.
  16. ↑ Frederik Hanssen: Love is a strange goal. Review of the performance in Berlin 2016. In: Der Tagesspiegel , May 29, 2016, accessed on July 3, 2018.
  17. ↑ a b Juliette. Performance information of the Prague National Theater , accessed on 20 June 2018th
  18. ↑ Keris Nine: Review of the performance in Prague 2017. In: OperaJournal, April 20, 2018, accessed on July 3, 2018.
  19. ↑ Ingrid Gerk: Review of the performance in Wuppertal 2018. In: Online Merker, March 4, 2018, accessed on July 3, 2018.
  20. ^ Antonín Dvořák Theater in Ostrava: Schedule. Accessed April 20, 2019 .
  21. ↑ a b c d e Bohuslav Martinů. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.