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K otázke rodových štúdií: Ženy v opernej a operetnej prevádzke bratislavského Mestského divadla (1886–1920)*

· · Hudobné divadlo, Musicologica 2/2015

Gender Studies: Women in Opera and Operetta Ensembles of the Municipal Theatre in Bratislava (1886–1920)
This study surveys the performing of female opera/operetta singers in the Municipal Theatre in Bratislava in the period of 1886–1920 and the premiere of the opera Tamaro (1907), composed by Bratislava composer and countess Alexandrine Esterházy-Rossi, in the context of the history of female composers. The profession of the opera singer represents the only occupation in which the “emancipation” of gender roles had been implemented since the origination of the opera as an institution. Guest performances of two singers are examined in detail: Lujza Blaha (1850–1926) and Irma de Spányi (1861–1932). Whereas in the area of performance women could reach the highest level, the creative skills and the profession of music composer had been considered exclusively the male domain. The lyrical romantic opera Tamaro by Alexandrine Esterházy-Rossi (1844–1919) was originally premiered in the Municipal Theatre in 1907, with the true name of the composer hidden behind the male pseudonym Alex Ertis. At present the work is lost. Lyricism, a wealth of melodic devices and graceful orchestration were emphasized in the press reviews. The libretto was criticised as it was lacking crucial dramatic situations. The performance of Alexandrine Esterházy-Rossi’s opera serves as an example of the continuous transformation of the opinions regarding female creativity. 

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Komprovizácia – na margo diskusie o opodstatnenosti termínu

· · Musicologica 1/2011, Súčasná hudba

The term “comprovisation“ which is hybrid name based on terms composition and improvisation emerged in various discourses since the beginning of this century. These terms express different principles accessing music material which has a tension and a certain contradiction. Comprovisation is used for bringing closer poetry of some contemporary experimental music where the author of the composition is at the same time a musician/performer of this composition in experimental ensemble called Shock Theory (tEóRia OtraSu). According to the author, such komprovisation is a mutation of composed and intuitive music. This term can be found in some projects of the pianist Philip Thomas who says: „comprovisation is a celebration and exploration of the interface where composition and improvisation meet. Central to the project is a number of works composed by musicians who are associated with the world of improvised music”. This principle can be found also in works of artists such as: Michael Francis Hannan, Richard Dudas, Jean-Michel Van Schouwburg, Lawrence Casserley and others. The author is looking for the place for komprovisation in historical development among such composers as for example: Morton Feldman, Charles Ives, Henry Cowell, John Cage, Witold Lutoslawski, Edgard Varese… He talks about existence of Slovak alternative scene of comprovisation music.

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