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První opera Zdeňka Fibicha a Anežky Schulzové Hedy op. 43

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Kopecký J.

Hudební věda (Musicology)

2006

vol. 43

issue 3

280-310

The article deals with the compositional process of the opera Hedy. It looks for the moments which probably decided the final shape of the work, and assesses the strength of the expected, as well as real, reactions of the public, as well as the reviewers. The broad outlook from inspiration to reception, links Hedy with Fibich’s previous (Hippodamie and Boufie /The Tempest/) and following dramatic compositions (Šárka, Pád Arkuna /The Fall of Arkona/). The article aims to point out the essentials features of Hedy, and to clarify the reasons for the final shape of the work’s dramaturgy, in relation to its authors, as well as the time of its creation.

Lyrická opera Eva Josefa Bohuslava Foerstera, Julius Zeyer a Louis Gallet

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Kopecký J.

Hudební věda (Musicology)

2010

vol. 47

issue 4

359-382

Josef Bohuslav Foerster’s Eva, the most frequently-performed of his operas, was characterized by the composer himself and by earlier musicological literature as a purely Czech work linked to the tradition of Smetana. However, in 2004 Cyril Šálek subjected Eva to a stylistic analysis and demonstrated its international character. While composing this second opera of his Foerster was intensively occupied with contemporary French works, and in his letters he responded animatedly to the debate unleashed by Louis Gallet, the librettist of Massenet’s opera Thaïs. It seems that – apart from other more-or-less probable models – clarification of fundamental dramatic issues in Eva was influenced especially by the dramatic character of French opéra lyrique.

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2 Hudební věda (Musicology)

2 Kopecký J.

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1 2006

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První opera Zdeňka Fibicha a Anežky Schulzové Hedy op. 43

Lyrická opera Eva Josefa Bohuslava Foerstera, Julius Zeyer a Louis Gallet