The Bartered Bride

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parents, wanting to know Mařenka's decision ("What have you decided, Mařenka?"). As she confirms that she will marry Vašek, Jeník returns, and to great consternation addresses Mícha as "father". In a surprise identity revelation it emerges that Jeník is Mícha's elder son, by a former marriage – the "worthless good-for-nothing" earlier dismissed by Kecal – who had in fact been driven away by his jealous stepmother, Háta. As Mícha's son he is, by the terms of the contract, entitled to marry Mařenka; when this becomes clear, Mařenka understands his actions and embraces him. Offstage shouting interrupts the proceedings; it seems that a bear has escaped from the circus and is heading for the village. This creature appears, but is soon revealed to be Vašek in the bear's costume ("Don't be afraid!"). His antics convince his parents that he is unready for marriage, and he is marched away. Mícha then blesses the marriage between Mařenka and Jeník, and all ends in a celebratory chorus.

603: 287:, this process was prolonged and untidy; the manuscript shows amendments and additions in Smetana's own hand, and some pages apparently written by Smetana's wife Bettina (who may have been receiving dictation). By the end of 1863 a two-act version, with around 20 musical numbers separated by spoken dialogue, had been assembled. Smetana's diary indicates that he, rather than Sabina, chose the work's title because "the poet did not know what to call it." The translation "Sold Bride" is strictly accurate, but the more euphonious "Bartered Bride" has been adopted throughout the English-speaking world. Sabina evidently did not fully appreciate Smetana's intention to write a full-length opera, later commenting: "If I had suspected what Smetana would make of my operetta, I should have taken more pains and written him a better and more solid libretto." 291: 578: 42: 635: 727: 1020: 964: 3228: 646:

moments later Mařenka arrives with her parents. She has just learned of Jeník's deal with Kecal, and a lively ensemble ("No, no, I don't believe it") ensues. Matters are further complicated when Vašek returns, recognises Mařenka as his "strange girl", and says that he will happily marry her. In the sextet which follows ("Make your mind up, Mařenka"), Mařenka is urged to think things over. They all depart, leaving her alone.

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stuttering song ("My-my-my mother said to me"). Mařenka appears, and guesses immediately who he is, but does not reveal her own identity. Pretending to be someone else, she paints a picture of "Mařenka" as a treacherous deceiver. Vašek is easily fooled, and when Mařenka, in her false guise, pretends to woo him ("I know of a maiden fair"), he falls for her charms and swears to give Mařenka up.

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but I don't care for the rest.'" Josef Krejčí, a member of the panel that had judged Harrach's opera competition, called the work a failure "that would never hold its own." Press comment was less critical; nevertheless, after one more performance the opera was withdrawn. Shortly afterwards the Provisional Theatre temporarily closed its doors, as the threat of war drew closer to Prague.

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good-for-nothing. Kecal extols the virtues of Vašek ("He's a nice boy, well brought up"), as Mařenka re-enters. In the subsequent quartet she responds by saying that she already has a chosen lover. Send him packing, orders Kecal. The four argue, but little is resolved. Kecal decides he must convince Jeník to give up Mařenka, as the villagers return, singing and dancing a festive polka.

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imminent war between Prussia and Austria caused unrest and anxiety in Prague, which dampened public enthusiasm for light romantic comedy. Thus on its opening night the opera, in its two-act version with spoken dialogue, was poorly attended and indifferently received. Receipts failed to cover costs, and the theatre director was forced to pay Smetana's fee from his own pocket.

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indicates that he was trying to give the music "a popular character, because the plot is taken from village life and demands a national treatment." According to his biographer John Clapham, Smetana "certainly felt the pulse of the peasantry and knew how to express this in music, yet inevitably he added something of himself." Historian

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Vašek's character is demonstrated by the dark minor key music of his act 3 solo. Smetana also uses the technique of musical reminiscence, where particular themes are used as reminders of other parts of the action; the lilting clarinet theme of "faithful love" is an example, though it and other instances fall short of being full-blown

631:, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the "Indian" rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words ("We'll make a pretty thing out of you"). 614:

Mícha's son will be allowed to wed Mařenka. Kecal agrees, and rushes off to prepare the contract. Alone, Jeník ponders the deal he has apparently made to barter his beloved ("When you discover whom you've bought"), wondering how anyone could believe that he would really do this, and finally expressing his love for Mařenka.

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Large has commented that despite the colour and vigour of the music, there is little by way of characterisation, except in the cases of Kecal and, to a lesser extent, the loving pair and the unfortunate Vašek. The two sets of parents and the various circus folk are all conventional and "penny-plain"

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Schonberg has suggested that Bohemian composers express melancholy in a delicate, elegiac manner "without the crushing world-weariness and pessimism of the Russians." Thus, Mařenka's unhappiness is illustrated in the opening chorus by a brief switch to the minor key; likewise, the inherent pathos of

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Vašek expresses his confusions in a short, sad song ("I can't get it out of my head"), but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a "real Indian" sword swallower, and a dancing bear. A rapid folk-dance, the

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Kecal summons the villagers to witness the contract he has made ("Come inside and listen to me"). He reads the terms: Mařenka is to marry no one but Mícha's son. Krušina and the crowd marvel at Jeník's apparent self-denial, but the mood changes when they learn that he has been paid off. The act ends

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commented that it "carr most of the comedy of the original" but was "rather weak on the musical side", despite the presence of stars such as Novotná. Opera-lovers, the review suggested, should not expect too much, but the work nevertheless gave an attractive portrait of Bohemian village life in the

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The opera was performed more than one hundred times during Smetana's lifetime (the first Czech opera to reach this landmark), subsequently becoming a permanent feature of the National Theatre's repertory. On 9 May 1945 a special performance in memory of the victims of World War II was given at the

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Smetana's friend Josef Srb-Debrnov, who was unable to attend the performance himself, canvassed opinion from members of the audience as they emerged. "One praised it, another shook his head, and one well-known musician ... said to me: 'That's no comic opera; it won't do. The opening chorus is fine

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Meanwhile, Kecal is attempting to buy Jeník off, and after some verbal fencing makes a straight cash offer: a hundred florins if Jeník will renounce Mařenka. Not enough, is the reply. When Kecal increases the offer to 300 florins, Jeník pretends to accept, but imposes a condition – no one but

585:

A crowd of villagers is celebrating at the church fair ("Let's rejoice and be merry"). Among them are Mařenka and Jeník. Mařenka is unhappy because her parents want her to marry someone she has never met. They will try to force her into this, she says. Her desires are for Jeník even though, as she

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passages and sustained high notes, while Jeník's good nature is reflected in the warmth of his music, generally in the G minor key. For Vašek's dual image, comic and pathetic, Smetana uses the major key to depict comedy, the minor for sorrow. Large suggests that Vašek's musical stammer, portrayed

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The circus folk leave. Vašek's parents – Mícha and Háta – arrive, with Kecal. Vašek tells them that he no longer wants to marry Mařenka, having learned her true nature from a beautiful, strange girl. They are horrified ("He does not want her – what has happened?"). Vašek runs off, and

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The men of the village join in a rousing drinking song ("To beer!"), while Jeník and Kecal argue the merits, respectively, of love and money over beer. The women enter, and the whole group joins in dancing a furiant. Away from the jollity the nervous Vašek muses over his forthcoming marriage in a

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The opera continued to be composed in a piecemeal fashion, as Sabina's libretto gradually took shape. Progress was slow, and was interrupted by other work. Smetana had become Chorus Master of the Hlahol Choral Society in 1862, and spent much time rehearsing and performing with the Society. He was

163:

The opera was not immediately successful, and was revised and extended in the following four years. In its final version, premiered in 1870, it rapidly gained popularity and eventually became a worldwide success. Until this time, the Czech national opera had only been represented by minor, rarely

709:

So far, changes to the original had been of a minor nature, but when the opera reappeared in June 1869 it had been entirely restructured. Although the musical numbers were still linked by dialogue, the first act had been divided in two, to create a three-act opera. Various numbers, including the

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opening chorus. In May 1863 he sketched eight bars which he eventually used in the love duet "Faithful love can't be marred", and later that summer, while still awaiting Sabina's revised libretto, he wrote the theme of the comic number "We'll make a pretty little thing". He also produced a piano

250:

Smetana did not act immediately on this aspiration. The announcement that a Provisional Theatre was to be opened in Prague, as a home for Czech opera and drama pending the building of a permanent National Theatre, influenced his decision to return permanently to his homeland in 1861. He was then

212:

Until the middle 1850s Bedřich Smetana was known in Prague principally as a teacher, pianist and composer of salon pieces. His failure to achieve wider recognition in the Bohemian capital led him to depart in 1856 for Sweden, where he spent the next five years. During this period he extended his

679:

The choice of date proved unfortunate for several reasons. It clashed with a public holiday, and many people had left the city for the country. It was an intensely hot day, which further reduced the number of people prepared to suffer the discomfort of a stuffy theatre. Worse, the threat of an

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is folk-like, the only significant use of authentic folk material is in the act 2 furiant, with a few other occasional glimpses of basic Czech folk melodies. The "Czechness" of the music is further illustrated by the closeness to Czech dance rhythms of many individual numbers. Smetana's diary

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In her aria ("Oh what grief"), Mařenka sings of her betrayal. When Jeník appears, she rebuffs him angrily, and declares that she will marry Vašek. Kecal arrives, and is amused by Jeník's attempts to pacify Mařenka, who orders her former lover to go. The villagers then enter, with both sets of

589:

As the pair leave separately, Mařenka's parents, Ludmila and Krušina, enter with the marriage broker Kecal. After some discussion, Kecal announces that he has found a groom for Mařenka – Vašek, younger son of Tobiáš Mícha, a wealthy landowner; the older son, he explains, is a worthless

718:. Smetana's own opinion of the finished work, given much later, was largely dismissive: he described it as "a toy ... composing it was mere child's play". It was written, he said "to spite those who accused me of being Wagnerian and incapable of doing anything in a lighter vein." 179:

After a performance at the Vienna Music and Theatre Exhibition of 1892, the opera achieved international recognition. It was performed in Chicago in 1893, London in 1895 and reached New York in 1909, subsequently becoming the first, and for many years the only, Czech opera in the

282:

For his libretto, Smetana again approached Sabina, who by 5 July 1863 had produced an untitled one-act sketch in German. Over the following months Sabina was encouraged to develop this into a full-length text, and to provide a Czech translation. According to Smetana's biographer

710:

drinking song and the new polka, were repositioned, and the polka was now followed by a furiant. A "March of the Comedians" was added, to introduce the strolling players in what was now act 3. A short duet for Esmeralda and the Principal Comedian was dropped. In September 1870

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The mood of the entire opera is set by the overture, a concert piece in its own right, which Tyrrell describes as "a tour de force of the genre, wonderfully spirited & wonderfully crafted." Tyrrell draws attention to several of its striking features – its extended string

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into the Vienna repertory, and conducted regular performances of the work between 1899 and 1907. Mahler's enthusiasm for the work was such that he had incorporated a quote from the overture into the final movement of his First Symphony (1888). When he became Director of the

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took place at the Provisional Theatre on 30 May 1866. Smetana conducted; the stage designs were by Josef Macourek and Josef Jiři Kolár produced the opera. The role of Mařenka was sung by the theatre's principal soprano, Eleonora von Ehrenberg – who had refused to appear in

1222:

mid-19th century. The reviewer found most of the acting first-rate, but commented that "the photography and sound reproduction are none too clear at times." Other film adaptations of the opera were made in 1922 directed by Oldrich Kminek (Atropos), in 1933, directed by

792:

company in Vienna, as part of the Vienna Music and Theatre Exhibition of 1892, where its favourable reception was the beginning of its worldwide popularity among opera audiences. Since Czech was not widely spoken, international performances tended to be in German. The

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figures. In contrast, Kecal's character – that of a self-important, pig-headed, loquacious bungler – is instantly established by his rapid-patter music. Large suggests that the character may have been modelled on that of the boastful Baron in

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commented on the excellence of the staging and musical characterisations, and paid particular tribute to "Mr. Mahler", whose master hand was in evidence throughout. Mahler chose to play the overture between acts 1 and 2, so that latecomers might hear it.

1078: 176:, he nevertheless created music considered by Czechs to be quintessentially Czech in spirit. The overture, often played as a concert piece independently from the opera, was, unusually, composed before almost any of the other music had been written. 1071: 696:

as soon as its first performances were complete. For its first revival, in October 1866, the only significant musical alteration was the addition of a gypsy dance near the start of act 2. For this, Smetana used the music of a dance from

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argues that "the exoticisms of the Bohemian musical language were not in the Western musical consciousness until Smetana appeared." Smetana's musical language is, on the whole, one of happiness, expressing joy, dancing and festivals.

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returned to the Provisional Theatre in January 1869, this dance was removed, and replaced with a polka. A new scene, with a drinking song for the chorus, was added to act 1, and Mařenka's act 2 aria "Oh what grief!" was extended.

1062: 1202:, the celebrated German director then at the beginning of his film-making career. The screenplay was drawn from Sabina's libretto by Curt Alexander, and Smetana's music was adapted by the German composer of film music, 1044: 265:, which was awarded the opera prize, was a serious historical drama, but even before its completion Smetana was noting down themes for use in a future comic opera. By this time he had heard the music of Cornelius's 164:

performed works. This opera, Smetana's second, was part of his quest to create a truly Czech operatic genre. Smetana's musical treatment made considerable use of traditional Bohemian dance forms, such as the

1053: 1035: 983: 156:. Set in a country village and with realistic characters, it tells the story of how, after a late surprise revelation, true love prevails over the combined efforts of ambitious parents and a scheming 586:

explains in her aria "If I should ever learn", she knows nothing of his background. The couple then declare their feelings for each other in a passionate love duet ("Faithful love can't be marred").

251:

spurred to creative action by the announcement of a prize competition, sponsored by the Czech patriot Jan von Harrach, to provide suitable operas for the Provisional Theatre. By 1863 he had written

247:

to the effect that Czechs were incapable of making music of their own, a remark which Smetana took to heart: "I swore there and then that no other than I should beget a native Czech music."

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in January 1866, the management of the Provisional Theatre decided to stage the new opera during the following summer. The scoring was completed rapidly, between 20 February and 16 March.

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with a business proposal for dividing the profits. The management of the Paris Opera did not respond. The opera was first performed outside its native land on 11 January 1871, when

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has entered the repertory of all major opera companies, and is regularly revived worldwide. After several unsuccessful attempts to stage it in France, it was premiered at the

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was made in 1913 by the Czech film production studio Kinofa. It was produced by Max Urban and starred his wife Andula Sedláčková. A German-language version of the opera,

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version of the entire overture, which was performed in a public concert on 18 November. In this, he departed from his normal practice of leaving the overture until last.

3244: 892:; it was criticised both for its stark settings and for ruining the act 2 entrance of Vašek. It was nevertheless twice revived by the ROH – in 2001 and 2006, under 1937: 524: 2790: 830:

in New York in 1907 he added the opera to its repertory. The New York premiere, again in German, took place on 19 February 1909, and was warmly received.

2949: 1135:, in establishing a general mood. It is followed immediately by an extended orchestral prelude, for which Smetana adapted part of his 1849 piano work 2512: 2837: 322:

By October 1862, well before the arrival of any libretto or plot sketch, Smetana had noted down 16 bars which later became the theme of

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because she thought her proffered role was beneath her. The parts of Krušina, Jeník and Kecal were all taken by leading members of the

3008: 1217:

Ophuls constructed an entire Czech village in the studio to provide an authentic background. Following the film's US release in 1934,

2955: 2470: 2424: 343:; the piano score was completed by October 1865. It was then put aside so that the composer could concentrate on his third opera 2915: 2541: 731: 2779: 239:. Their discussions centred on the need to create a modern style of comic opera, as a counterbalance to Wagner's new form of 3290: 754:

in St Petersburg. The work attracted mediocre notices from the critics, one of whom compared the work unfavourably to the

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cast. A celebrated actor, Jindřich Mošna, was engaged to play the Ringmaster, a role which involves little singing skill.

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in 1848, and had encouraged the younger composer's career since then. In September 1857 Smetana visited Liszt in

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status, and was convinced that press hostility had been generated by a former adversary, the Russian composer

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and composing a festival march. That same year he became music correspondent of the Czech-language newspaper

253: 314:(a stressed syllable followed by an unstressed one), matching the natural first-syllable emphasis in Czech. 149: 101: 2811: 774: 303: 3232: 2976: 1119:. The overture does not contain many of the opera's later themes: biographer Brian Large compares it to 3258: 3208: 861:. In 2008 the opera was added to the repertoire of the Paris Opera, in a new production staged at the 1211: 877: 814: 789: 742:

In February 1869 Smetana had the text translated into French, and sent the libretto and score to the

310:

libretto was put together, it has an intrinsic "Czechness", being one of the few in Czech written in

3160: 1941: 181: 1120: 924: 2213: 1694:"He's not grown up yet..." (leading to) "A good cause is won, and faithful love has triumphed." 2430: 2087: 1125: 766:. The pair had clashed some years earlier, over the Provisional Theatre's stagings of Glinka's 432: 235: 2886: 2728: 2667:

Marès, Antoine (2006). "La Fiancée mal vendue". In Horel, Catherine; Michel, Bernard (eds.).

1163: 747: 577: 221:. Liszt was Smetana's long-time mentor; he had accepted a dedication of the latter's Opus 1: 2261: 1235: 3310: 3305: 3111: 810: 213:

compositional range to large-scale orchestral works in the descriptive style championed by

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was not performed abroad again until after Smetana's death in 1884. It was staged by the

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especially in his opening act 2 song, was taken from Mozart's character Don Curzio in

382: 133: 33: 2775: 2753: 2734: 2713: 2707: 2694: 2672: 2653: 2609: 2566: 2545: 2101: 1158: 893: 873: 755: 751: 445: 3052: 144:. The work is generally regarded as a major contribution towards the development of 3068: 2882: 2586: 2269: 1087: 936: 916: 854: 290: 3300: 3165: 3044: 2842: 2795: 2603: 1223: 1131: 889: 331:

deeply involved in the 1864 Shakespeare Festival in Prague, conducting Berlioz's

240: 230: 184:. Many of these early international performances were in German, under the title 157: 153: 618:

with Jenik being denounced by Krušina and the rest of the assembly as a rascal.

3189: 3060: 2499: 1144: 996: 862: 763: 218: 2960: 2473:

at Google News Archive, a clip also appears on YouTube with poor sound quality

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genre. Smetana was hurt by this remark, which he felt downgraded his opera to

339:. Smetana's diary for December 1864 records that he was continuing to work on 3284: 3092: 2686: 2602:

Mitchell, Donald (1997). "Mahler and Smetana". In Hefling, Stephen E. (ed.).

1203: 908: 881: 806: 794: 461: 148:. It was composed during the period 1863 to 1866, and first performed at the 41: 1199: 193: 3272: 2698: 1231: 1195: 928: 900: 606: 258: 141: 71: 726: 208:

Disegno per copertina di libretto, drawing for La sposa venduta (undated).

3213: 2645: 2486:, Appendix C: "The Genesis of The Bartered Bride", pp. 399–408 1116: 920: 904: 743: 638: 284: 214: 145: 129: 3119: 1330:"While a mother's love..." (leading to) "Faithful love can't be marred" 2914:. Národní divlado (National Theatre, Prague). June 2008. Archived from 2669:

Nations, cultures et sociétés d'Europe centrale aux XIXe et XXe siècles

1238:(Barrandov). A version was produced for Australian television in 1960. 1168: 1098: 1008: 715: 374: 188:, and the German-language version continues to be played and recorded. 1210:

in the role of Mařenka ("Marie" in the film), and the German baritone

1149: 750:, conductor of the Russian Imperial Opera, gave a performance at the 1167:. Mařenka's temperament is shown in vocal flourishes which include 778:. Smetana believed that Balakirev had used the Russian premiere of 759: 581:

Open-air performance at the Zoppot Waldoper, near Danzig, July 1912

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theatre, four days after the last significant fighting in Europe.

798: 413: 311: 169: 2965:, Public Domain copy of Max Ophüls 1932 film at Internet Archive 923:, conducted by Mark Stringer. In its May 2009 production at the 2938: 1108: 628: 226: 16:

Comic opera in three acts by the Czech composer Bedřich Smetana

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Chorus, Mařenka, Jeník, Háta, Mícha, Kecal, Ludmila, Krušina,

714:

reached its final form, when all the dialogue was replaced by

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in London. In 1897, after his appointment as director of the

477: 165: 29: 3267: 347:. Smetana evidently did not begin the orchestral scoring of 1246:

The list relates to the final (1870) version of the opera.

932: 172:, and, although he largely avoided the direct quotation of 2327: 2325: 233:, a follower of Liszt's who was working on a comic opera, 2380: 2295: 2157: 2044: 1889: 269:, and was ready to try his own hand at the comic genre. 2455:

Filmographie: Cinéma et opéra: du film muet à la vidéo.

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The Bartered Bride libretto: German and English texts

2349: 2229: 2181: 1901: 1737: 1725: 1630:"Oh what grief"... (leading to) "That dream of love" 1590:

Mařenka, Krušina, Kecal, Ludmila, Háta, Mícha, Vašek

1139:, adding special effects such as bagpipe imitations. 868:

In the English-speaking world, recent productions of

801:, on 20 August 1893. The opera was introduced to the 2337: 2169: 2068: 2056: 2032: 1969: 1957: 1749: 880:

during the restoration of the ROH's headquarters at

653: 2542:"Moving Pictures: The European Films of Max Ophüls" 2392: 2283: 2193: 306:has observed that, despite the casual way in which 2435: 1811: 1799: 1206:. The film starred the leading Czech opera singer 899:A New York Metropolitan staging was in 1996 under 152:, Prague, on 30 May 1866 in a two-act format with 2712:. Berkeley, Ca.: University of California Press. 2671:(in French). Paris: Publications de la Sorbonne. 2241: 2145: 2090:; Kenyon, Nicholas; Walsh, Stephen, eds. (1993). 2086: 1251:Numbers, performed by, title in Czech and English 3282: 1606:Ludmila, Krušina, Kecal, Mařenka, Háta, Mícha, 351:until, following the successful performance of 243:. A comment was made by the Viennese conductor 2709:The Harlequin Years: Music in Paris, 1917-1929 2214:"Enfin par la grande porte: La Fiancée vendue" 2123: 2121: 2119: 2117: 931:transplanted the action to 1934, in the small 797:premiere took place at the Haymarket Theatre, 2984: 1179: 939:, once the home of a large Czech settlement. 884:. This production in English was directed by 738:New York premiere under Gustav Mahler in 1909 2312: 2310: 809:, then serving as its director; in 1895 the 257:to a libretto by the Czech nationalist poet 2370: 2368: 2366: 2364: 2114: 2009: 2007: 2005: 2003: 2001: 1988: 1986: 1984: 1920: 1918: 1916: 1789: 1787: 1774: 1772: 1770: 1768: 1766: 1764: 1582:"He does not want her – what has happened" 57: 2991: 2977: 2133: 1880: 1878: 1876: 1874: 1872: 1870: 1868: 1866: 1864: 1832: 1830: 1828: 1826: 1241: 298:(English and German texts, published 1909) 40: 2956:International Music Score Library Project 2788: 2772:The Lives of the Great Composers, Vol. II 2766: 2608:. Cambridge: Cambridge University Press. 2544:. University of Wisconsin. Archived from 2409: 2407: 2331: 2307: 2235: 1690:Pomněte, kmotře ... Dobrá věc se podařila 907:'s 1978 production with stage designs by 849:In the years since its American premiere 2685: 2601: 2565:. Master Musicians. London: J. M. Dent. 2361: 2259: 2139: 2127: 1998: 1981: 1913: 1784: 1761: 1326:Jako matka požehnáním ... Věrné milování 725: 633: 601: 576: 289: 261:, whom Smetana had met briefly in 1848. 203: 2838:"The bride wore an outfit from Habitat" 2705: 2579: 2560: 2498: 2355: 2316: 2289: 2211: 2187: 1907: 1861: 1855: 1823: 1793: 1778: 1755: 1743: 1566:"We'll make a pretty thing out of you" 1543:Dance: Skočná (Dance of the Comedians) 1490:"When you discover whom you've bought" 560:Chorus: Villagers, circus artists, boys 3283: 2750:The Coasts of Bohemia: A Czech History 2622: 2441: 2404: 1851: 1849: 1847: 1845: 876:(ROH) presentation in 1998, staged at 272: 2972: 2902:Kalbeck, Max; Raboch, Wenzel (1909). 2835: 2789:Seckerson, Edward (11 January 2006). 2747: 2726: 2666: 2644: 2539: 2510: 2483: 2413: 2398: 2386: 2374: 2343: 2301: 2247: 2212:Lesueur, François (22 October 2008). 2199: 2175: 2163: 2151: 2074: 2062: 2050: 2038: 2026: 2013: 1992: 1975: 1963: 1924: 1895: 1836: 1817: 1805: 1731: 1470:Nuže, milý chasníku, znám jednu dívku 1234:(Espofilm), and in 1976, directed by 721: 2482:The English wordings are taken from 1474:"Now, sir, listen to a word or two" 857:in Paris in 1928, sung in French as 132:in three acts by the Czech composer 2998: 2836:White, Michael (13 December 1998). 2810: 2791:"Shut your eyes and all is perfect" 2260:Robinson, Lisa B. (November 2011). 1884: 1842: 1362:"He's a nice boy, well brought up" 223:Six Characteristic Pieces for Piano 13: 2906:. New York: Oliver Ditson Company. 2858: 1678:"What have you decided, Mařenka?" 1346:"As I was saying, my good fellow" 1097:Problems playing these files? See 1018: 962: 840: 609:in the role of Mařenka, circa 1917 294:The tune of the opening chorus to 14: 3332: 2931: 2912:"The Bartered Bride 20 June 2008" 2471:Listed at 8:00PM on ABV Channel 2 1370:Ludmila, Krušina, Kecal, Mařenka 654:Reception and performance history 365:Roles, voice types, premiere cast 192:of the opera was made in 1932 by 3266: 3238: 3227: 3226: 3036: 2937: 2867:"Czech Spirit Enlivens J.O.C.'s 1526:"I can't get it out of my head" 1486:Až uzříš – Jak možna věřit 1076: 1058: 1040: 1007:Problems playing this file? See 981: 919:theatre, in a new production by 782:as a means of exacting revenge. 489:Mícha's son by a former marriage 2774:. London: Futura Publications. 2476: 2464: 2447: 2418: 2253: 2205: 2080: 2019: 1940:. Toulky operou. Archived from 1930: 1674:Jak jsi se, Mařenko rozmyslila? 1506:"Come inside and listen to me" 1390:Pojd' sem, holka, toč se, holka 734:, New York, around the time of 2752:. Princeton University Press. 2580:Eichler, Jeremy (2 May 2009). 1708:The Bartered Bride discography 1498:Kecal, Jeník, Krušina, Chorus 947:Although much of the music of 813:brought its production to the 687: 317: 1: 3024:The Brandenburgers in Bohemia 2459:L'Avant Scène Cinéma et Opéra 1714: 1700: 1626:Ó, jaký žal ... Ten lásky sen 1614:"Make your mind up, Mařenka" 1598:"No, no, I don't believe it" 1442:"My-my-my mother said to me" 1298:"Let's rejoice and be merry" 993:London Philharmonic Orchestra 915:returned to New York, at the 699:The Brandenburgers of Bohemia 254:The Brandenburgers in Bohemia 2875:The Juilliard Journal Online 2865:Brandow, Adam (April 2005). 2461:, Mai 1987, 360, pp. 138–39. 2266:The Juilliard Journal Online 872:in London have included the 7: 2691:The Music of Czechoslovakia 2504:Slavonic and Romantic Music 2025:This duet is reproduced in 1342:Jak vám pravím, pane kmotře 658: 567: 302:The Czech music specialist 277: 10: 3337: 3209:Moravian traditional music 2822:)". In Macy, Laura (ed.). 2511:Anon. (20 February 1909). 2506:. London: Faber and Faber. 2426:Die verkaufte Braut (1932) 2262:"Met-Juilliard Bride Bows" 2096:. London: Viking. p. 1686:All characters and Chorus 1574:Háta, Mícha, Kecal, Vašek 1458:"I know of a maiden fair" 1180:Film and other adaptations 379:Premiere cast, 30 May 1866 199: 3321:Operas adapted into films 3291:Operas by Bedřich Smetana 3222: 3201: 3174: 3153: 3130: 3103: 3015: 3006: 2843:The Independent on Sunday 2582:"Smetana's buoyant Bride" 1662:"Calm down and trust me" 1314:"If I should ever learn" 1265: 1262: 1259: 1256: 1212:Willi Domgraf-Fassbaender 815:Theatre Royal, Drury Lane 558: 85: 77: 67: 51: 39: 28: 23: 2625:"Verkaufte Braut (1932)" 2623:H.T.S. (27 April 1934). 1522:To-to mi v hlavě le-leži 1354:Ludmila, Krušina, Kecal 1338:Ludmila, Krušina, Kecal 942: 732:Metropolitan Opera House 621: 593: 572: 358: 46:Cover of the score, 1919 2831:(subscription required) 2706:Nichols, Roger (2002). 2535:(subscription required) 1531:March of the Comedians 1294:Proč bychom se netěšili 1242:List of musical numbers 925:Cutler Majestic Theatre 790:Prague National Theatre 692:Smetana began revising 3161:Bedřich Smetana Museum 2561:Clapham, John (1972). 2431:British Film Institute 2093:The Viking Opera Guide 1654:Jeník, Mařenka, Kecal 1454:Známť já jednu dívčinu 1310:Kdybych se co takového 1174:The Marriage of Figaro 1126:The Marriage of Figaro 1072:Dance of the Comedians 1023: 967: 739: 642: 610: 582: 515:Principál komediantů, 433:Eleonora von Ehrenberg 299: 236:Der Barbier von Bagdad 209: 119: 58: 3316:Operas set in Bohemia 3296:Czech-language operas 2748:Sayer, Derek (1998). 2652:. London: Duckworth. 1558:Esmeralda, Principál 1406:Chorus, Kecal, Jeník 1403:Chorus with soloists 1394:"Come, my darlings!" 1386:Chorus and orchestra 1164:Il matrimonio segreto 1022: 966: 729: 637: 605: 580: 547:dancer and comedienne 293: 207: 90:30 May 1866 3144:String Quartet No. 2 3138:String Quartet No. 1 3009:List of compositions 2946:at Wikimedia Commons 2918:on 27 September 2011 2768:Schonberg, Harold C. 2733:. Oxford: ABC-Clio. 2727:Osnes, Beth (2001). 1610:Rozmysli si, Mařenko 1594:Ne, ne, tomu nevěřím 736:The Bartered Bride's 641:as Kecal, circa 1913 324:The Bartered Bride's 308:The Bartered Bride's 2962:Die verkaufte Braut 2889:on 21 November 2008 2389:, pp. 176–178. 2304:, pp. 186–187. 2166:, pp. 356–357. 2053:, pp. 168–169. 1898:, pp. 121–125. 1253: 1214:as Jeník ("Hans"). 1191:Die verkaufte Braut 803:Hamburg State Opera 775:Ruslan and Lyudmila 769:A Life for the Tsar 554:Terezie Ledererová 466:Marie Pisařovicová 367: 273:Composition history 186:Die verkaufte Braut 150:Provisional Theatre 102:Provisional Theatre 3183:The Bartered Bride 3096:(1884, incomplete) 3032:The Bartered Bride 2951:The Bartered Bride 2944:The Bartered Bride 2825:Grove Music Online 2816:The Bartered Bride 2630:The New York Times 2522:The New York Times 2377:, pp. 174–175 2130:, pp. 111–112 2029:, pp. 409–413 2016:, pp. 399–408 1995:, pp. 165–166 1927:, pp. 163–164 1839:, pp. 160–161 1638:Jeník and Mařenka 1450:Mařenka and Vašek 1378:"Here she is now" 1322:Mařenka and Jeník 1249: 1228:Svatopluk Innemann 1219:The New York Times 1186:The Bartered Bride 1147:leading themes or 1030:The Bartered Bride 1028:Three dances from 1024: 976:The Bartered Bride 968: 949:The Bartered Bride 913:The Bartered Bride 886:Francesca Zambello 870:The Bartered Bride 851:The Bartered Bride 833:The New York Times 828:Metropolitan Opera 823:The Bartered Bride 819:Vienna State Opera 786:The Bartered Bride 780:The Bartered Bride 740: 722:Later performances 712:The Bartered Bride 703:The Bartered Bride 694:The Bartered Bride 670:The Brandenburgers 665:The Bartered Bride 643: 611: 583: 533:an Indian comedian 418:Marie Procházková 363: 353:The Brandenburgers 349:The Bartered Bride 341:The Bartered Bride 300: 296:The Bartered Bride 263:The Brandenburgers 245:Johann von Herbeck 210: 115:The Bartered Bride 24:The Bartered Bride 3254: 3253: 2942:Media related to 2781:978-0-86007-723-7 2548:on 1 October 2009 2453:Turconi, Davide. 1938:"Prodaná nevěsta" 1734:, pp. 67–69. 1698: 1697: 1578:Aj! Jakže? Jakže? 1562:Milostné zvířátko 1184:A silent film of 1086:Performed by the 1081: 1063: 1045: 999:, conductor, 1930 991:Performed by the 986: 894:Charles Mackerras 888:and conducted by 874:Royal Opera House 859:La Fiancée vendue 821:, Mahler brought 752:Mariinsky Theatre 565: 564: 503:a marriage broker 333:Romeo et Juliette 182:general repertory 111: 110: 3328: 3271: 3270: 3262: 3242: 3230: 3229: 3202:Related articles 3175:Film adaptations 3104:Orchestral works 3085:The Devil's Wall 3040: 2993: 2986: 2979: 2970: 2969: 2954:: Scores at the 2941: 2927: 2925: 2923: 2907: 2898: 2896: 2894: 2885:. Archived from 2883:Juilliard School 2854: 2852: 2850: 2832: 2829: 2807: 2805: 2803: 2785: 2763: 2744: 2723: 2702: 2682: 2663: 2641: 2639: 2637: 2619: 2598: 2596: 2594: 2587:The Boston Globe 2576: 2557: 2555: 2553: 2536: 2533: 2531: 2529: 2517:at Metropolitan" 2507: 2487: 2480: 2474: 2468: 2462: 2451: 2445: 2439: 2433: 2422: 2416: 2411: 2402: 2396: 2390: 2384: 2378: 2372: 2359: 2353: 2347: 2341: 2335: 2329: 2320: 2314: 2305: 2299: 2293: 2287: 2281: 2280: 2278: 2276: 2270:Juilliard School 2257: 2251: 2245: 2239: 2233: 2227: 2225: 2223: 2221: 2216:. ForumOpera.com 2209: 2203: 2197: 2191: 2185: 2179: 2173: 2167: 2161: 2155: 2149: 2143: 2142:, pp. 67–68 2137: 2131: 2125: 2112: 2111: 2084: 2078: 2072: 2066: 2060: 2054: 2048: 2042: 2036: 2030: 2023: 2017: 2011: 1996: 1990: 1979: 1973: 1967: 1961: 1955: 1953: 1951: 1949: 1934: 1928: 1922: 1911: 1905: 1899: 1893: 1887: 1882: 1859: 1853: 1840: 1834: 1821: 1815: 1809: 1803: 1797: 1791: 1782: 1781:, pp. 28–29 1776: 1759: 1753: 1747: 1741: 1735: 1729: 1646:"Mařenka mine!" 1466:Kecal and Jeník 1438:Má ma-ma Matička 1266:Title (English) 1254: 1252: 1248: 1194:, was filmed in 1123:'s overtures to 1088:U.S. Marine Band 1083: 1082: 1065: 1064: 1047: 1046: 1021: 988: 987: 965: 954:Harold Schonberg 917:Juilliard School 748:Eduard Nápravník 663:The premiere of 510:František Hynek 450:Vojtěch Šebesta 368: 366: 362: 105: 97: 95: 61: 44: 21: 20: 3336: 3335: 3331: 3330: 3329: 3327: 3326: 3325: 3281: 3280: 3277: 3265: 3257: 3255: 3250: 3218: 3197: 3170: 3166:Smetana Quartet 3149: 3126: 3099: 3011: 3002: 3000:Bedřich Smetana 2997: 2934: 2921: 2919: 2910: 2901: 2892: 2890: 2881:(7). New York: 2864: 2861: 2859:Further reading 2848: 2846: 2830: 2820:Prodaná nevěsta 2801: 2799: 2796:The Independent 2782: 2760: 2741: 2720: 2693:. Oxford: OUP. 2679: 2660: 2635: 2633: 2616: 2592: 2590: 2573: 2551: 2549: 2534: 2527: 2525: 2500:Abraham, Gerald 2490: 2481: 2477: 2469: 2465: 2452: 2448: 2440: 2436: 2423: 2419: 2412: 2405: 2397: 2393: 2385: 2381: 2373: 2362: 2354: 2350: 2342: 2338: 2330: 2323: 2315: 2308: 2300: 2296: 2288: 2284: 2274: 2272: 2258: 2254: 2246: 2242: 2234: 2230: 2219: 2217: 2210: 2206: 2198: 2194: 2186: 2182: 2174: 2170: 2162: 2158: 2150: 2146: 2138: 2134: 2126: 2115: 2108: 2085: 2081: 2073: 2069: 2061: 2057: 2049: 2045: 2037: 2033: 2024: 2020: 2012: 1999: 1991: 1982: 1974: 1970: 1962: 1958: 1947: 1945: 1944:on 4 March 2016 1936: 1935: 1931: 1923: 1914: 1906: 1902: 1894: 1890: 1883: 1862: 1854: 1843: 1835: 1824: 1816: 1812: 1804: 1800: 1792: 1785: 1777: 1762: 1754: 1750: 1742: 1738: 1730: 1726: 1717: 1703: 1514: 1419:Dance: Furiant 1402: 1287:Opening chorus 1286: 1250: 1244: 1224:Jaroslav Kvapil 1208:Jarmila Novotná 1182: 1132:The Magic Flute 1104: 1103: 1095: 1093: 1092: 1091: 1090: 1084: 1077: 1074: 1068: 1067: 1066: 1059: 1056: 1050: 1049: 1048: 1041: 1038: 1032: 1025: 1019: 1014: 1013: 1005: 1003: 1002: 1001: 1000: 989: 982: 979: 969: 963: 945: 903:, a revival of 890:Bernard Haitink 843: 841:Modern revivals 724: 690: 661: 656: 624: 596: 575: 570: 496:Jindřich Polák 383:Bedřich Smetana 380: 364: 361: 320: 280: 275: 231:Peter Cornelius 229:, where he met 202: 158:marriage broker 154:spoken dialogue 134:Bedřich Smetana 121:Prodaná nevěsta 107: 106: 100: 98: 93: 91: 63: 59:Prodaná nevěsta 47: 34:Bedřich Smetana 17: 12: 11: 5: 3334: 3324: 3323: 3318: 3313: 3308: 3303: 3298: 3293: 3276: 3275: 3252: 3251: 3249: 3248: 3236: 3223: 3220: 3219: 3217: 3216: 3211: 3205: 3203: 3199: 3198: 3196: 3195: 3187: 3178: 3176: 3172: 3171: 3169: 3168: 3163: 3157: 3155: 3151: 3150: 3148: 3147: 3141: 3134: 3132: 3128: 3127: 3125: 3124: 3116: 3107: 3105: 3101: 3100: 3098: 3097: 3089: 3081: 3073: 3065: 3061:The Two Widows 3057: 3049: 3041: 3028: 3019: 3017: 3013: 3012: 3007: 3004: 3003: 2996: 2995: 2988: 2981: 2973: 2967: 2966: 2958: 2947: 2933: 2932:External links 2930: 2929: 2928: 2908: 2899: 2869:Bartered Bride 2860: 2857: 2856: 2855: 2833: 2808: 2786: 2780: 2764: 2758: 2745: 2739: 2724: 2718: 2703: 2687:Newmarch, Rosa 2683: 2677: 2664: 2658: 2642: 2620: 2614: 2605:Mahler Studies 2599: 2577: 2571: 2558: 2540:Anon. (n.d.). 2537: 2515:Bartered Bride 2508: 2489: 2488: 2475: 2463: 2446: 2434: 2417: 2403: 2391: 2379: 2360: 2348: 2346:, p. 173. 2336: 2332:Schonberg 1975 2321: 2306: 2294: 2282: 2252: 2240: 2236:Seckerson 2006 2228: 2204: 2192: 2180: 2178:, p. 235. 2168: 2156: 2144: 2132: 2113: 2106: 2088:Holden, Amanda 2079: 2077:, p. 210. 2067: 2065:, p. 171. 2055: 2043: 2041:, p. 160. 2031: 2018: 1997: 1980: 1978:, p. 164. 1968: 1966:, p. 144. 1956: 1929: 1912: 1900: 1888: 1860: 1841: 1822: 1810: 1798: 1783: 1760: 1748: 1746:, p. 138. 1736: 1723: 1716: 1713: 1702: 1699: 1696: 1695: 1692: 1687: 1684: 1680: 1679: 1676: 1671: 1668: 1664: 1663: 1660: 1658:Utiš se, dívko 1655: 1652: 1648: 1647: 1644: 1639: 1636: 1632: 1631: 1628: 1623: 1620: 1616: 1615: 1612: 1607: 1604: 1600: 1599: 1596: 1591: 1588: 1584: 1583: 1580: 1575: 1572: 1568: 1567: 1564: 1559: 1556: 1552: 1551: 1549: 1547: 1544: 1540: 1539: 1537: 1535: 1532: 1528: 1527: 1524: 1519: 1516: 1508: 1507: 1504: 1502:Pojďte lidičky 1499: 1496: 1492: 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494: 491: 484: 483: 480: 475: 468: 467: 464: 459: 452: 451: 448: 443: 436: 435: 430: 427: 425:their daughter 420: 419: 416: 411: 404: 403: 398: 393: 386: 385: 377: 372: 360: 357: 319: 316: 279: 276: 274: 271: 219:Richard Wagner 201: 198: 126:The Sold Bride 109: 108: 99: 89: 87: 83: 82: 79: 75: 74: 69: 65: 64: 55: 53: 49: 48: 45: 37: 36: 26: 25: 15: 9: 6: 4: 3: 2: 3333: 3322: 3319: 3317: 3314: 3312: 3309: 3307: 3304: 3302: 3299: 3297: 3294: 3292: 3289: 3288: 3286: 3279: 3274: 3269: 3264: 3263: 3260: 3247: 3246: 3241: 3237: 3235: 3234: 3225: 3224: 3221: 3215: 3212: 3210: 3207: 3206: 3204: 3200: 3193: 3192: 3188: 3185: 3184: 3180: 3179: 3177: 3173: 3167: 3164: 3162: 3159: 3158: 3156: 3152: 3145: 3142: 3139: 3136: 3135: 3133: 3131:Chamber music 3129: 3122: 3121: 3117: 3114: 3113: 3109: 3108: 3106: 3102: 3095: 3094: 3090: 3087: 3086: 3082: 3079: 3078: 3074: 3071: 3070: 3066: 3063: 3062: 3058: 3055: 3054: 3050: 3047: 3046: 3042: 3039: 3034: 3033: 3029: 3026: 3025: 3021: 3020: 3018: 3014: 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p. 59. 2357: 2352: 2345: 2340: 2334:, p. 78. 2333: 2328: 2326: 2318: 2313: 2311: 2303: 2298: 2291: 2286: 2271: 2267: 2263: 2256: 2249: 2244: 2237: 2232: 2215: 2208: 2202:, p. 48. 2201: 2196: 2190:, p. 17. 2189: 2184: 2177: 2172: 2165: 2160: 2153: 2148: 2141: 2140:Newmarch 1942 2136: 2129: 2128:Mitchell 1997 2124: 2122: 2120: 2118: 2109: 2107:0-670-81292-7 2103: 2099: 2095: 2094: 2089: 2083: 2076: 2071: 2064: 2059: 2052: 2047: 2040: 2035: 2028: 2022: 2015: 2010: 2008: 2006: 2004: 2002: 1994: 1989: 1987: 1985: 1977: 1972: 1965: 1960: 1943: 1939: 1933: 1926: 1921: 1919: 1917: 1910:, p. 32. 1909: 1904: 1897: 1892: 1886: 1881: 1879: 1877: 1875: 1873: 1871: 1869: 1867: 1865: 1857: 1852: 1850: 1848: 1846: 1838: 1833: 1831: 1829: 1827: 1820:, p. 99. 1819: 1814: 1808:, p. 43. 1807: 1802: 1795: 1790: 1788: 1780: 1775: 1773: 1771: 1769: 1767: 1765: 1758:, p. 20. 1757: 1752: 1745: 1740: 1733: 1728: 1724: 1722: 1721: 1712: 1710: 1709: 1693: 1691: 1688: 1685: 1682: 1681: 1677: 1675: 1672: 1669: 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Kašlík 1233: 1229: 1225: 1220: 1215: 1213: 1209: 1205: 1204:Theo Mackeben 1201: 1197: 1193: 1192: 1187: 1177: 1175: 1170: 1166: 1165: 1160: 1154: 1152: 1151: 1146: 1140: 1138: 1134: 1133: 1128: 1127: 1122: 1118: 1114: 1110: 1102: 1100: 1089: 1073: 1055: 1037: 1031: 1012: 1010: 998: 994: 978: 977: 958: 955: 950: 940: 938: 934: 930: 926: 922: 918: 914: 910: 909:Josef Svoboda 906: 902: 897: 895: 891: 887: 883: 882:Covent Garden 879: 875: 871: 866: 864: 860: 856: 855:Opéra-Comique 852: 847: 838: 835: 834: 829: 824: 820: 816: 812: 808: 807:Gustav Mahler 804: 800: 796: 795:United States 791: 787: 783: 781: 777: 776: 771: 770: 765: 761: 757: 753: 749: 745: 737: 733: 728: 719: 717: 713: 707: 704: 700: 695: 685: 681: 677: 675: 671: 666: 651: 647: 640: 636: 632: 630: 619: 615: 608: 604: 600: 591: 587: 579: 561: 557: 553: 550: 548: 544: 543: 539: 536: 534: 530: 529: 526: 523: 520: 518: 514: 513: 509: 506: 504: 500: 499: 495: 492: 490: 486: 485: 482:Josef Kysela 481: 479: 476: 474: 470: 469: 465: 463: 462:mezzo-soprano 460: 458: 454: 453: 449: 447: 444: 442: 438: 437: 434: 431: 428: 426: 422: 421: 417: 415: 412: 410: 406: 405: 402: 401:Josef Paleček 399: 397: 394: 392: 388: 387: 384: 378: 376: 373: 370: 369: 356: 354: 350: 346: 342: 338: 337:Národní listy 334: 328: 325: 315: 313: 309: 305: 297: 292: 288: 286: 270: 268: 264: 260: 256: 255: 248: 246: 242: 238: 237: 232: 228: 224: 220: 216: 206: 197: 195: 191: 190:A German film 187: 183: 177: 175: 171: 167: 161: 159: 155: 151: 147: 143: 139: 135: 131: 127: 123: 122: 117: 116: 103: 88: 84: 80: 76: 73: 70: 66: 62: 60: 54: 50: 43: 38: 35: 31: 27: 22: 19: 3278: 3243: 3231: 3190: 3182: 3118: 3110: 3091: 3083: 3075: 3067: 3059: 3051: 3043: 3031: 3030: 3022: 2961: 2950: 2920:. Retrieved 2916:the original 2903: 2891:. Retrieved 2887:the original 2878: 2874: 2868: 2847:. Retrieved 2841: 2823: 2819: 2815: 2800:. Retrieved 2794: 2771: 2749: 2729: 2708: 2690: 2668: 2649: 2646:Large, Brian 2634:. Retrieved 2628: 2604: 2591:. Retrieved 2585: 2562: 2550:. Retrieved 2546:the original 2526:. Retrieved 2520: 2514: 2503: 2492: 2491: 2478: 2466: 2458: 2454: 2449: 2437: 2425: 2420: 2394: 2382: 2356:Clapham 1972 2351: 2339: 2319:, p. 95 2317:Clapham 1972 2297: 2290:Eichler 2009 2285: 2273:. Retrieved 2268:. New York: 2265: 2255: 2243: 2231: 2218:. Retrieved 2207: 2195: 2188:Nichols 2002 2183: 2171: 2159: 2147: 2135: 2092: 2082: 2070: 2058: 2046: 2034: 2021: 1971: 1959: 1946:. Retrieved 1942:the original 1932: 1908:Clapham 1972 1903: 1891: 1858:, p. 31 1856:Abraham 1968 1813: 1801: 1796:, p. 31 1794:Clapham 1972 1779:Abraham 1968 1756:Clapham 1972 1751: 1744:Clapham 1972 1739: 1727: 1719: 1718: 1706: 1704: 1689: 1673: 1657: 1641: 1625: 1609: 1593: 1577: 1561: 1521: 1511: 1501: 1485: 1469: 1453: 1437: 1409: 1399: 1389: 1373: 1357: 1341: 1325: 1309: 1293: 1283: 1245: 1232:Emil Pollert 1218: 1216: 1189: 1185: 1183: 1173: 1162: 1155: 1148: 1141: 1136: 1130: 1124: 1117:syncopations 1111:, climactic 1105: 1096: 1029: 1006: 975: 974:Overture to 948: 946: 929:Opera Boston 912: 901:James Levine 898: 869: 867: 858: 850: 848: 844: 831: 822: 785: 784: 779: 773: 767: 741: 735: 711: 708: 702: 698: 693: 691: 682: 678: 673: 669: 664: 662: 648: 644: 625: 616: 612: 607:Emmy Destinn 597: 588: 584: 559: 546: 540:Josef Křtín 532: 516: 502: 488: 472: 456: 440: 424: 408: 390: 352: 348: 344: 340: 336: 332: 329: 323: 321: 307: 304:John Tyrrell 301: 295: 281: 266: 262: 259:Karel Sabina 252: 249: 234: 222: 211: 185: 178: 162: 142:Karel Sabina 125: 120: 114: 113: 112: 72:Karel Sabina 56: 52:Native title 18: 3311:1870 operas 3306:1866 operas 3194:(1956 film) 3186:(1932 film) 2636:18 December 2442:H.T.S. 1934 2275:30 November 2226:(in French) 2220:30 November 1642:Mařenko má! 1414:"To beer!" 921:Eve Shapiro 905:John Dexter 805:in 1894 by 744:Paris Opera 688:Restructure 639:Otto Goritz 545:Esmeralda, 441:a landowner 381:Conductor: 318:Composition 285:Brian Large 267:Der Barbier 241:music drama 215:Franz Liszt 146:Czech music 130:comic opera 3285:Categories 3112:Hakon Jarl 3077:The Secret 2484:Large 1970 2414:Anon. n.d. 2399:Osnes 2001 2387:Large 1970 2375:Large 1970 2344:Large 1970 2302:Large 1970 2248:White 1998 2200:Marès 2006 2176:Sayer 1998 2164:Large 1970 2152:Anon. 1909 2075:Large 1970 2063:Large 1970 2051:Large 1970 2039:Large 1970 2027:Large 1970 2014:Large 1970 1993:Large 1970 1976:Large 1970 1964:Large 1970 1954:(in Czech) 1925:Large 1970 1896:Large 1970 1837:Large 1970 1818:Large 1970 1806:Large 1970 1732:Large 1970 1715:References 1701:Recordings 1546:Orchestra 1534:Orchestra 1422:Orchestra 1410:To pivečko 1374:Tu ji máme 1290:Villagers 1274:Orchestra 1200:Max Ophüls 1169:coloratura 1150:Leitmotifs 1099:media help 1009:media help 937:Spillville 911:. In 2005 716:recitative 517:Ringmaster 375:Voice type 194:Max Ophüls 94:1866-05-30 68:Librettist 3154:Namesakes 3146:(1882–83) 3123:(1872–79) 3115:(1860–61) 3035:(1866) 1667:Ensemble 1587:Ensemble 1495:Ensemble 1271:Overture 1161:'s opera 1145:Wagnerian 756:Offenbach 473:their son 423:Mařenka, 407:Ludmila, 391:a peasant 389:Krušina, 3233:Category 3120:Má vlast 3069:The Kiss 2770:(1975). 2689:(1942). 2648:(1970). 2502:(1968). 1948:28 March 1622:Mařenka 1571:Quartet 1367:Quartet 1306:Mařenka 1159:Cimarosa 935:town of 760:operetta 659:Premiere 568:Synopsis 551:soprano 531:Indián, 457:his wife 429:soprano 409:his wife 396:baritone 312:trochees 278:Libretto 174:folksong 138:libretto 118:(Czech: 104:, Prague 86:Premiere 78:Language 3191:Dalibor 3045:Dalibor 2922:21 June 2893:21 June 2699:3291947 2650:Smetana 2593:22 June 2563:Smetana 2493:Sources 2429:at the 1885:Tyrrell 1683:Finale 1603:Sextet 1257:Number 1054:Furiant 799:Chicago 701:. 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