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become the substitute for his former sex-life. His wife tries to hold on to the memory of her last night dream involving “Three stars in a single trap! A rose without thorns! A golden-blue flower? A black lily of snow!”, the same dream elements having been experienced by
Adelaide, the couple’s servant. In the forest, Juste comes upon a fairy caught in a trap, releases her and brings her home. Indolenda, bored, flirts with Adolf, her younger cousin, who shows little interest in his older relative. When Juste brings the fairy home, she removes any suspicion that she might be a new mistress by promising to make three wishes come true if she would regain her liberty. Indolenda makes the first wish, to be rich. The Juste home immediately fills with objects of wealth and they change into glamorous clothes! Posh guests enter delighting in the riches. The Fairy meanwhile unveils a secret: this is an engagement party for Adolf and the wealthy Eblouie Barbichette. For a wedding gift, the Fairy offers them a golden island with a gilded palace. With the chorus intoning “Life is beautiful!” the act ends.
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the gold, sinks. Stranded on the island Juste makes a wish for his wife to become young, and this happens; but
Indolenda does not desire Juste, opting for her cousin Adolf as a willing lover. From the desert island, the scene changes to a small square where Juste sadly sounds his hunting horn. Indolenda and Adolf appear on a balcony on the square swearing their love and dance a
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leaving her husband (Artur) so as to go off with Serge. After Le Départ, in an epilogue, Artur enters a bar, remaining apart, proud of his success, but fearing that the others present are mocking him. Finally, alone in the empty bar, he ends with the exact from his role in the film role, “Life is so hard!”, but there is no film director to say 'cut'.
42:. Composed mainly in Paris between autumn 1928 and May 1929, it was not premiered until June 1971 at the State Theatre, Brno. Grove describes the work as "one of the composer's most experimental works, blending film with stage action", and as "a mature drama" it is "comparable in theatrical impact to many of Martinů's later operas."
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Juste murmurs how hard his life is as a cuckoo cry (of the fairy) marks his end. The director calls 'cut' and there is elation all round as the director invites the actors to a party. Indolenda and Adolf (as the actors Nina
Valencia and Serge Eliacin) decide that they will continue to be lovers in real life as well.
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The third act is the film itself as shot in the first two acts and an epilogue. It starts with a crowd outside the cinema of the premiere. The film about the start is the full story repeated (through and instrumental movement of around fifteen minutes) and is a major success. Nina is still decided on
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A chorus singing about money – with a refrain “a thousand dollars” is cut off by the entrance of the director and crew for a film who began the frantic preparations for the shoot. While the director organizes the filming there is an urgent call for missing props and dresses. The main characters enter
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to a gramophone record. Juste is saved from his rejection by the fairy who reminds him of the remaining wish: Juste wishes to be loved. A hunchbacked vagrant (the formerly rich
Eblouie Barbichette) falls in love with him but becomes so possessive that finally she beats out of jealousy. The expiring
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The act begins on a sea voyage to the island as Juste and
Indolenda demand proof that the golden island is real. The proof soon arrives in the form of golden birds flying above, golden fish swimming in the sea, and eventually, all is gilded, including the passengers, until the boat, weighed down by
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The first two acts take place on a film set where the film of the story of the three wishes (for wealth, youth and love) is being made. The sound of a cuckoo clock in the Justes’ bedroom heralds morning. Their marriage has clearly run out of steam, and he goes out hunting in the forest, which has
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aroused some interest in 1930 from the directors of the Berlin-Charlottenburg Opera; Martinů travelled to the German capital to present the work, but negotiations foundered on financial and administrative considerations to do with making the film and the sets, significantly greater that what they
76:, in the way it looks forward to the 'opera of dreams', with several references to dreams in the libretto. The opera is a play within a play, rather a film narrative within an episode of real-life. The composer planned a further collaboration with this poet, but it was never completed.
194:, Germany conducted by Peter Leonard, directed by Jiří Nekvasil, and with Olaf Lemme (Juste/Arthur), Ines Wilhelm (Indolenda), Christoph Kayser (Adolphe), Lucie Ceralová (Fairy/Lilian Nevermore) was the first with no musical cuts; some dialogue alone was excised at the start of Act 3.
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from their dressing rooms: Nina
Valencia (playing Indolenda) and her husband Arthur de St. Barbe (Mr. Juste), Serge Eliacin (Adolf) and Lillian Nevermore (the Fairy). After a brief flirtation between Serge and Nina, the filming begins, and the story of the film and opera.
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The opera concerns not only the making of a film but incorporates the final result, with the worlds colliding in the film that we see being made, and the lines between reality and unreality (film) are frequently obscure. The work anticipates the later masterpiece
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Ribemont-Dessaignes is quoted as saying that there is a 'vital intensity' in Martinů's music, which reflects, and is perfectly in harmony with, the action. Very much of its time, the score references "the wit of
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Robert Simon. Bohuslav Martinů: A Research and
Information Guide - 2014 - Page 159 1317806107 Les trois souhaits, H. 175, the satirical “zeitoper” using jazz and film, also had a delayed premiere in 1971.
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Louis Erlo and Jean Aster was seen by the composer's widow, the cast including Emmy Gregor as the fairy. A further production was mounted in Lyon in
October 1990, conducted by
62:. Composer and librettist met when Ribemont-Dessaignes's work had just been translated into Czech. Ribemont-Dessaignes wrote the libretto for Martinů's second opera
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As an artist, poet and playwright
Ribemont-Dessaignes was part of the Surrealist movement in Paris. As a composer, some of his piano works, written using a
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84:, La Revue Nègre and the first tangos in Paris... snatches of atonality", while "quirky, wistful music, calling for a jazz pianist and a
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Martinů and
Ribemont-Dessaignes began immediately a collaboration on another opera, which was completed soon after in May 1929.
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Nekvasil, Jiří. Bohuslav Martinů - Three Wishes in Rostock. Bohuslav Martinů Newsletter 1) 2007 p10-13.
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Miloš Šafránek. Czechoslovakia - Martinů's opera-film.
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conducting, and again in December 2015 by the Ostrava
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A production of January 2007 at the Großes Haus, Das
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