Every production of this Smetana comic opera, turned into a national heritage over the years, raises expectations. Nellis decided not to risk another cosmetically modified village spectacle and pushed the Bartered Bride straight between the blocks of flats of the normalization years. I don’t mind, it was already here. And if she stuck to it, her concept might be quite interesting.
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However, if she decides not to stage the opera itself, but the story of behind-the-scenes intrigues and gossip during her rehearsals, the viewer has the right to know in advance so that she does not feel deceived. And here not only the production, but above all the marketing of the National Theater completely fails.
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The problem with the director’s concept is that the process of rehearsing the opera as she outlined it is not very funny or supportive. A few opera insiders can entertain, but even those who come poor and boring. The director’s added character practically does not direct anything, and the singing of singers about the role of Mařenka is not enough for the entire opera.
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The director broke the original story with an ingeniously musically constructed story, and did not offer a new one. The characters stick to the stage in a traditional embrace, sitting on chairs or beer crates, but we don’t know anything about their desires and problems.
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The musical staging of Jaroslav Kyzlink does not deviate from this generality either. The conductor pushes the opera forward, as if he wants to get it over with as soon as possible. Of the three Mařeneks, Kateřina Kněžíková has the most space, whose voice for this role has matured at the right time, but Markéta Klaudová is already stepping on her heels with a fresh and voluminous soprano. And Maria Kobielska will indicate in a short entry that she would still be able to handle Marenka reliably as well.
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Peter Berger manages Jeník with a carrying tenor without any problems, just like Ondřej Koplík Vaška. He is the only one who manages to create a really lively figure of a dear non-motorist.
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At the first rehearsal, the sold-out auditorium applauded a lot, but it also buzzed. Practically after every aria, which the singers certainly do not deserve, they are just victims of an untouched concept. And in the end, it was called “Shame!”
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| Bedřich Smetana: The Bartered Bride |
| Directed by Alice Nellis, musical production by Jaroslav Kyzlink, stage by Matěj Cibulka, costumes by Kateřina Štefková. Premieres on May 26 and 28 at the National Theater, Prague (written from the first rerun on June 2) |
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