FULL O původu Jaroměřic na Morave (Míča) Kuks 2023 Ondřej Benek, Helena Kalambová, Kristina Kubová, Štěpán Binar
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Information on the Performance
- Work Title: O původu Jaroměřic na Morave or On the origin of Jaroměřice in Moravia
- Composer: Míča František Antonín
- Libretto: Antonín Ferdinand Dubravius Libretto Text, Libretto Index
- Venue & Opera Company: Nadvori hospitalu, Kuks, Czech Republic
- Recorded: August 26, 2023
- Type: Staged Opera Live
- Singers: Ondřej Benek, Helena Kalambová, Kristina Kubová, Štěpán Binar, Hana Holodňáková, Michal Marhold, Jiří Poláček, Juliana Synková
- Conductor: Tomáš Hanzlík
- Orchestra: Ensemble Damian
Information about the Recording
- Published by: Ensemble Damian
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Baroque opera dealing in the form of a heroic fable about a slain deer and the founding of the town of Jaroměřice nad Rokytnou was originally composed to an Italian libretto. From the autograph score, only the 1st and 2nd acts survived in Vienna, but also with the underlying Czech text. This work is therefore considered to be the oldest surviving opera performed in the Czech language. The Czech libretto of the 3rd act was created based on the contemporary printing of the Italian libretto by GD Bonlini and the printing of its translation into German by H. Rademin. The music for this new text was created as a pasticcio, or paraphrase of parts of Míč’s surviving serenades and sepolcra. It is therefore possible for the first time to run the opera on stage.
He mainly composed congratulatory pieces – so-called serenades intended for the name-day celebrations of the noble owner of the estate, or his spouse – and also so-called sepolkra (oratorios performed during Passion Week , especially on Maundy Thursday and Good Friday at the Holy Sepulcher). A number of his works have not survived. In his musically dramatic work, he mainly followed the music of the Baroque masters. His models were composers such as Johann Adolph Hasse , Antonio Vivaldi , Antonio Caldara , Francesco Bartolomeo Conti, etc. In 1730 , he composed the Italian opera L’origine di Jaromeritz in Moravia , which was soon translated into Czech ( On the origin of Jaromeritz in Moravia ) and is considered the first opera performed in the Czech language. It is known that Míča wrote other operas, even to Czech texts, unfortunately they have not been preserved or have not been discovered in the still insufficiently researched castle archives.
Míča respected the compositional principles of opera seria (aria da capo, coloratura, mostly secco recitatives, in the spirit of the contemporary tradition of working with affects and musical rhetorical figures). However, his musical expression has a simplified invoice in accordance with the more modern trends of the time. The composition is homophonic, the themes are periodic, there is frequent work with progressive rhythmic structures – syncopations and triplets . He almost did not compose contrapuntally, at most he used the imitation technique, but always only briefly and inconsistently. A certain looseness in Míč’s treatment of musical symbols already indicates the gradual abandonment of these compositional principles as part of the stylistic transition taking place in the first half of the 18th century.
His compositions largely correspond to the term gallant style . The main features of this style include a certain freedom of compositional work, a cantabile melody and an economical and simple harmony distancing itself from the learned and elaborate style of the High Baroque, especially from polyphony . The music was meant to be – to put it in the language of contemporary treatises – intended for the ears of music lovers rather than the eyes of connoisseurs. The gallant style is most often referred to in connection with chamber, possibly orchestral music composed in Central Europe, especially in Germany. In the field of Italian opera of the years 1720–1740, the terminology representing the stylistic transition is rather unclear and the term gallant style is not very frequent. JA Hasse can be described as a typical representative of these tendencies in Italian opera seria . However, we also find gallant titles by Viennese opera composers (Caldara, Conti), often in smaller vocal-instrumental works, such as tribute serenades (the decisive factor for the choice of compositional style in the Baroque era was the purpose for which the compositions were created, and in last but not least also the customer).
Quoted from Wikipedia