V príspevku sa venujeme niekoľkým problematickým okruhom, ktoré sa objavili pri rekonštrukcii zachovaného operného autografu Mechmet od Juraja Družeckého. Analyzujeme v ňom špecifiká týkajúce sa hudobného dobového zápisu v partitúre, venujeme sa problematike nejasností v harmonicko-rytmickej zložke a prepisu nemeckého textu z originálnych vokálnych partov. Problematické aspekty sú spojené s prepisom do notačného programu Sibelius.
The Dramaturgy of Oskar Nedbal and its Starting Points
Oskar Nedbal, the director and entrepreneur of the Slovak National Theatre in the period 1923–1930, helped the theatre to achieve success abroad and, even more importantly, to gain the favour of the German and Hungarian long-time residents of Bratislava and educate the Slovak theatre audience. He was criticised, however, for a dramaturgy that did not follow a certain “strong and fixed plan” (Štefan Hoza). A more careful study can reveal the core of his dramaturgical thinking. Almost every one of Nedbal’s choices takes into account the experience from the preceding periods of his artistic path. His Bratislava dramaturgy reflects especially the era of Karel Kovařovic in the Prague National Theatre (1900–1906). Other Bratislava productions reveal the return to Nedbal’s Vienna projects. His choice of collaborators – set and costume designers, stage directors – confirms that Nedbal accentuated the scenic component of the performance, but he lacked the knowledge of the latest tendencies in the realm of staging. His artistic development was over before he came to Bratislava, but the way in which he reflected the disappearing world of Late-Romantic music theatre is vital and authentic, and as such it became the perfect launching pad for a new, modern artistic orientation, which was later accomplished by his nephew and successor Karel Nedbal.
The Origination of the Slovak National Theatre: Building, Ensemble, and City Paradoxes
This essay focuses on the relations of German, Hungarian, Czech and Slovak theatres in the joint theatre building. Using music as a language, Oskar Nedbal, the theatre director in the period 1923–1930, bridged the nationalist rivalry; Karel Nedbal, together with the stage director Viktor Šulc and scene designer František Tröster, created in 1928–1938 a period of a modern opera. The stage director Ján Jamnický, influenced by Russian constructivism and German expressionism, created the counterpart to the modern opera. He and architect Emil Belluš found the impulses for this in the guest appearances of German actors and actresses, including Alexander Moissi, Ernst Deutsch, Tilla Durieux and Fritz Kortner. As the leading personalities of the new generation of Slovak theatre artists, they liberated the stage, and stepped away from the imitation of reality to the theatre as a sign of reality. The building of the Municipal Theatre witnessed also the birth of modern Slovak opera in works by Eugen Suchoň, Ján Cikker and Juraj Beneš. In its time the Bratislava theatre was a unique phenomenon: every week it gave performances in four different languages, thus being a certain “theatre of nations” in the city which was linked to Vienna, the capital of the former Empire, by a tram.
