Program 2017

/Program 2017
Program 20172017-06-23T12:14:07+00:00

7. 7. – 10. 7.

Tomáš Hanzlík: Lacrimae Alexandri magni (Lipník nad Bečvou 1764, Prague 2007)

great Neo-Baroque operaThe final part of the Neo-Baroque Piarist trilogy, turning the anonymous text of a Latin school play into music. The story is based on a short episode from Plutarch’s biography of Alexander of Macedon. The twelve-year-old prince of Macedonia interprets the prophecy of his tears as a defeat of his father in war. However, when he sets out with his troops to help his father, a messenger arrives to announce his father’s victory. Alexander starts crying because he feels he could never measure up to his father.

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7. 7. 2017
8. 7. 2017
9. 7. 2017
10. 7. 2017

11. 7. – 14. 7.

Leonardo Vinci: La contesa de´ numi (Řím 1729)

Baroque serenataThe Contest of the Gods with a libretto by Pietro Metastasio premiered at the palace of the French ambassador (Palazzo Altemps) in Rome in November 1729 to celebrate the birth of the French dauphin. This serenade also survived in Count Questenberg’s collection in Jaroměřice nad Rokytnou, where it was performed with a modified text to celebrate the Count’s birthday, shortly after its premiere in Rome. The subject is a feud between Olympian gods and allegorical figures over who will have the right to raise the successor to the French throne. In the end, after hearing the proposals of all parties, Jupiter decides that they will all raise him together. However, he must move from Olympus to Versailles.

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11. 7. 2017
12. 7. 2017
13. 7. 2017
14. 7. 2017
Harlekýnova dobrodružství

15. 7. – 18. 7.

Vít Zouhar: Coronide (Kroměříž 1731, 2000)Tomáš Hanzlík: Harlequin’s Adventures (Olomouc 2007)

Neo-Baroque opera and pantomime with songsIn the summer of 1731, the opera Coronide was staged at Kroměříž Castle at the bidding of the Olomouc bishop, Cardinal Wolfgang Hanibal Schrattenbach. The only part that has survived is the anonymous libretto. Vít Zouhar selected the most impressive passages from the unique preserved copy and supplemented them with one-sentence commentary from Ovid’s Metamorphoses. The Baroque libretto serves only as a starting point for telling a mythological story about the dramatic fate of Koronis (Coronide). According to Ovid, she was the object of the god Apollo’s love. A jealous Raven, however, told Apollo that Koronide was unfaithful to him. Apollo pierced her chest with an arrow without even once doubting the credibility of what Raven had said. Before she died, Koronide managed to tell Apollo she was expecting his child, son Asclepius.A comedy about how, despite all adversities, the Harlequin wins his beloved Columbina is based on the tradition of Italian street theatre. In the music component, Tomáš Hanzlík changed the popular contemporary improvisational models (La Folia, Ciaccona) as well as parts of the stage music for the play Tartuffe by Vít Zouhar, a colleague from Olomouc.

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15. 7. 2017
16. 7. 2017
17. 7. 2017
18. 7. 2017

19. 7. – 22. 7.

Karel Müller (1719-?): Il natal di Giove (Jaroměřice nad Rokytnou 1748)

Baroque serenataThis work by a clerk and composer of Count Qustenberg was composed to a libretto by Pietro Metastasio. The first musical version by Giuseppe Bonno, composed to celebrate the birthday of Emperor Charles VI, is now lost. The drama is based on a misunderstood prophecy. Adrasto meets Princess Melite and tells her that the gods have refused the usual offering, which was interpreted as the need to sacrifice one of the king’s daughters, and he tries to make her escape. Melite, however, decides to do the opposite, and resolves to obey the prophecy in order to save her sister and the entire kingdom. Once Amaltea learns about the prophecy and her sister’s plan, she rushes to the temple, where Priest Cassandro is preparing Melite for the sacrifice. When she is not allowed to offer herself instead of her sister, Amaltea wants to die with Melite. The goddess Themis appears in the temple, explaining the true meaning of the prophecy: Jupiter will be born in Crete, and the sisters were chosen to care for him.

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19. 7. 2017
20. 7. 2017
21. 7. 2017
22. 7. 2017

24. 7. – 26. 7.

Tomáš Hanzlík: Endymio (Kroměříž 1727, 2001), Yta innocens (1728, 2003)

two Neo-Baroque operasThe ancient myth about a fair young man named Endymion was a popular theme in all eras because of its strong message about art. A Latin opera of the same name was performed at the court of the Olomouc bishop, Cardinal Wolfgang Hanibal Schrattenbach, in Kroměříž on 12 September 1727. Pastor David Kopecký (1696-1758), the regent of the local Piarist music seminar, was the author of the libretto as well as the music. The success of Endymio encouraged Kopecký to write another opera opus, and so exactly one year later Yta innocens about scheming at the court triggered by an alleged murder, premiered at the castle theatre on Schrattenbach’s birthday. The success of both operas aroused the jealousy of the Cardinal’s Italian musicians, who contrived to have Kopecký removed from Kroměříž. Kopecký subsequently ceased composing secular music. The only part to survive from both the operas was the libretto, which Tomáš Hanzlík recently revived, making use of the music by Kroměříž Piarists.

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24. 7. 2017
25. 7. 2017
26. 7. 2017

27. 7. – 30. 7.

Antonio Vivaldi: La Senna festeggiante RV 693 (Venice 1726)

Baroque serenataCardinal Pietro Ottoboni was a Venetian burgher and after accepting the post of the protector of the affairs of France in Venice he found himself in conflict with the laws of the Republic. Ottoboni was banished from his hometown for several years. His triumphant return from Rome in 1726 was accompanied by a multitude of musical performances. The French ambassador to Venice, Jacques Vincent Languet, Count de Gergy, commissioned to compose a serenade for this occasion. Librettist Domenico Lalli celebrated the reconciliation of Venice and France by means of three allegorical figures. Golden Age and Courage wander the wilderness in search of their lost fortune. They are greeted by the river Seina, who promises to guide them to what they are pursuing. In the second act, the characters finally see the French king, to whom they give loyal compliments and prayers. The serenade probably premiered on August 25th, the Feast of St. Louis.

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27. 7. 2017
28. 7. 2017
29. 7. 2017
30. 7. 2017