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Kilka uwag o naturze opery, czyli dlaczego Fryderyk Chopin nie został twórcą opery narodowej

100%
Ratajczakowa D.
Pamiętnik Teatralny
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2023
|
issue 2(285)
131-145
EN
Biographical research confirms that thanks to his studies, Chopin had all the expertise to author a national opera, a genre of fundamental importance and high status in the first half of the nineteenth century. The article posits that the answer to the question why Chopin did not create any operatic works lies in a combination of reasons. The author discusses various factors potentially determining the composer’s decision, including the historical circumstances (the outbreak of the anti-Russian November Uprising in Warsaw in 1830), as well as aspects of Chopin’s musical personality. She focuses on arguments related to the performative status of opera as a genre.
2
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Opera narodowa w orbicie wpływów Wagnera na przykładzie Libuszy Bedřicha Smetany

100%
Andrzejewski M.
Aspekty Muzyki
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2011
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vol. 1
11-34
EN
The article focuses on the influence of Wagnerian ideas on the concept of 19th-century Czech national opera. This can be partly explained by the fact that Czech culture was strongly connected with German culture. However, early Czech operas, and even some of Smetana’s, were quite influenced by the German singspiel — a genre with predominantly lyrical and comic elements. Their national character was manifested mainly by folk elements within the action and the music (countryside scenery, national dances, adaptations of folk melodies). The ideal of this type of national opera is Smetana’s The Bartered Bride. The same composer created a work that presents a completely different understanding of the national style and opera. In Libuše, he tried to use the Wagnerian idea of musical drama for transforming the concept of the Czech national opera. In the article, there are quotations of the composer’s statements about Libuše as a work that has a “unique importance in our [Czech] history”. Wagner’s influences are apparent on a few levels in this operatic work. The libretto is based on the mythical story about Queen Libuše, the legendary founder of Prague, and in the opera she is a symbol of the Czech nation. Wagnerian influences are found in the formal structure (unendliche Melodie), as well as in the musical language of Libuše. Smetana used a system of leitmotifs consequently, connecting them with the characters (Libuše, Přemysl) and ideas (motifs of the nation, motif of authority). Perhaps it was under the influence of the idea of Bühnenfestpiel that Smetana designed Libuše as a slavnostni zpěvohra for special celebrations in the life of the Czech nation.
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Grzegorz Zieziula, „Nurt kosmopolityczny w polskiej twórczości operowej drugiej połowy XIX wieku”, Warszawa 2020 Narodowy Instytut Fryderyka Chopina, ss. 670. ISBN 978-83-959167-2-4

100%
Dziadek M.
Muzyka
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2022
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vol. 67
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issue 2
175-180
EN
Book Review of: Grzegorz Zieziula, Nurt kosmopolityczny w polskiej twórczości operowej drugiej połowy XIX wieku, Warszawa 2020.  The methodological assumptions of the work and its substantive content were discussed. There discussion was held with the author's proposals to present the topic in analytical terms and in the perspective of the history of reception, highlighting, as particularly valuable, the innovative approach of the Author to the issue of cosmopolitan opera as an equal current of Polish opera in the nineteenth century, positively competing with the model of national opera.
PL
Recenzja książki: Grzegorz Zieziula, Nurt kosmopolityczny w polskiej twórczości operowej drugiej połowy XIX wieku, Warszawa 2020. Omówiono założenia metodologiczne pracy oraz jej zawartość merytoryczną. Przeprowadzono dyskusję z propozycjami Autora dotyczącymi przedstawienia tematu w ujęciu analitycznym oraz w perspektywie historii recepcji, uwypuklając, jako szczególnie wartościowe, nowatorstwo ujęcia przez niego problematyki opery kosmopolitycznej jako równorzędnego nurtu polskiej twórczości operowej w XIX wieku, pozytywnie konkurującego z modelem opery narodowej.
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