Preskočiť na obsah
Vedecký časopis

etnickosť

V centre pozornosti: Mestské divadlo v Prešporku v rokoch 1886–1920*

· · Hudobné divadlo, Musicologica 2/2015

Focusing on the Municipal Theatre in Pressburg in 1886–1920
The establishment and development of the Municipal Theatre in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theatre was built by Pressburg townsmen, at that time the rising stratum of the population. It offered them the space for the demonstration of their social status, and, most of all, entertainment and relaxation. The edifice of the theatre was owned by the city, which used to rent it to German and Hungarian theatre directors and their companies. The theatre was run this way until 1920, when the political situation resulted in a change, and regular performances of Czech, and later also Slovak artists started to take place in the theatre. The repertoire of the Municipal Theatre was that of a provincial theatre of the period. Its wide scope had to address the biggest part of population, as it had to secure the income for the director as well as the whole theatre ensemble. Helped by the closeness of Vienna and due to local patriotism of the city residents, the Pressburg Municipal Theatre evolved into the leading scene among the provincial theatres in Hungary.

Čítať ďalej

Opera ako symbol statusu. Maďarská kráľovská opera v rokoch 1884–1920

· · Hudobné divadlo, Musicologica 2/2015

Opera as a Symbol of Status. The Hungarian Royal Opera 1884–1920
Opera, with its magical ability to worship, to invoke that which does not exist (yet), played a weighty role in the history of the Hungarian national movement. From the point of view of the history of opera practice in the contemporary Hungarian metropolis, the year 1812 is an important landmark – it is the year of the opening of the Royal Municipal German Theatre in Pest. In 1837 the Hungarian National Theatre started in the same city, which became the first permanent Hungarian theatrical scene (with the exception of the theatre in Transylvanian Klausenburg/Koloszvár/Cluj). The opera came to the fore soon afterwards, although it developed with the German “burden” for quite a long time. Not only orchestral players, but also the majority of singers had problems with the Hungarian language, which often became the subject of agitated discussions in the nationalist circles. In the middle of the 19th century the ensemble consolidated under the conductor Ferenc Erkel, who fulfilled the concepts of the national opera not only as a conductor, but as a composer, too (Hunyadi László, 1844; Bánk bán, 1861). Conflicts and arguments between the intendants and artistic directors (young Gustav Mahler being one of them) did not prevent the opera from becoming almost a form of mass art in Budapest at the end of the 19th century. This may be proven by the opening of the Folk Opera in 1911 with 3,400 seats. At the same time this artistic genre became attractive for both the intellectuals and modernist artists, Béla Bartók among them. 

Čítať ďalej