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Bakalářská Diplomová Práce

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Bakalářská Diplomová Práce MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy BAKALÁŘSKÁ DIPLOMOVÁ PRÁCE 2014 Klára Schützová MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy Sdruţená uměnovědná studia Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních Bakalářská diplomová práce Vedoucí práce: Autor práce: Mgr. Jan Špaček Klára Schützová 2014 Čestné prohlášení Prohlašuji, ţe jsem tuto bakalářskou práci vypracovala zcela samostatně s vyuţitím pouze citovaných literárních pramenů a zdrojů, které jsou uvedeny v seznamu pouţité literatury. V Brně dne 9. května 2014 ………………….……… Klára Schützová Poděkování Srdečně děkuji Mgr. Janu Špačkovi za odborné vedení této bakalářské práce, za cenné rady a připomínky. Děkuji také své rodině a blízkým za podporu během celého studia. Bibliografický záznam SCHÜTZOVÁ, Klára. Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních. Brno, 2013/2014. Bakalářská práce. Masarykova univerzita, Filozofická fakulta, Ústav hudební vědy. Vedoucí práce Mgr. Jan Špaček. Anotace Bakalářská práce „Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních“ si klade za cíl porovnat opery Fidelio a Dalibor z hlediska historického kontextu, koncepce a jejich kompozice. Podle Zdeňka Nejedlého je ‚Fidelio pravým otcem Dalibora‘. V čem tedy tkví ona podobnost oper? Můţeme tvrdit, ţe jsou si díla velmi podobná a dějově téměř totoţná, nebo se snad jedná o analogie ryze vnějšího charakteru a Fidelio s Daliborem nemají mnoho společného? Nejen na tyto otázky se ve své bakalářské práci pokusím najít odpovědi. Klíčová slova Ludwig van Beethoven, Bedřich Smetana, opera, Fidelio, Leonor, Dalibor, věznice, láska, morálka, svoboda Annotation The aim of this Bachelor‘s thesis „Beethoven's Fidelio and Smetana's Dalibor - comparison of historical and conceptual aspects" is to compare these two operas in the viewpoint of its historical context, conception and composition. According to Zdeněk Nejedlý: ‚Fidelio is a father of Dalibor‘. What are the similarities of these operas? Can we actually compare these two works? Can we say that they are very similar in their stories or do they not have a lot in common as it seems? I want to answer those questions in this Bachelor’s work. Keywords Ludwig van Beethoven, Bedřich Smetana, opera, Fidelio, Leonor, Dalibor, prison, love, morality, freedom Obsah Úvod ................................................................................................................................................ 7 1 Vlivy (nejen dramatické) Beethovena na Smetanu ................................................................. 9 1.1 Beethoven dramatikem ................................................................................................... 10 1.2 Česká opera ‚před Smetanou' ......................................................................................... 11 1.2.1 Přínos Smetany pro českou národní operu .............................................................. 12 2 Fidelio: otec Dalibora aneb historický kontext vzniku oper ................................................ 14 2.1 Otec a syn ....................................................................................................................... 14 2.2 (Ne)přijetí oper veřejností .............................................................................................. 16 2.2.1 Boje o Dalibora a rehabilitace původní Leonory .................................................... 17 3 Dějová linie a koncepce oper ................................................................................................ 20 3.1 Náměty a inspirace z historie .......................................................................................... 21 3.1.1 Ústřední motivy: prostředí ţalářů, přestrojení, láska, čest a svoboda ..................... 22 3.2 Psychologie postav ......................................................................................................... 23 3.2.1 Florestan x Dalibor .................................................................................................. 23 3.2.2 Leonor x Milada ...................................................................................................... 24 3.2.3 Rocco x Beneš ......................................................................................................... 25 3.3 Morální a sociální aspekty .............................................................................................. 26 4 Hudební kompozice oper ...................................................................................................... 28 4.1 Sbory ............................................................................................................................... 31 Závěr .............................................................................................................................................. 33 Resumé .......................................................................................................................................... 35 Summary ....................................................................................................................................... 36 Seznam pouţité literatury .............................................................................................................. 37 Úvod V literatuře se často dočteme o podobnosti oper Fidelio a Dalibor. Téměř vţdy se však jedná o pouhé naznačení moţného srovnání, nikde není zacházeno do přílišných detailů. Jedinými argumenty, které nahrávají pro podobnost mezi oběma operami, jsou podobná dějová linie, prostředí ţalářů a psychologie postav, obzvláště pak dvou hlavních hrdinek Milady a Leonory. Toto téma mě zaujalo a ráda bych se ve své bakalářské práci zabývala onou podobností a srovnáním oper hlouběji. Mimo jiné si budu klást otázky typu: Z jakých historických námětů autoři čerpali? V jakém historickém kontextu byly tyto opery tvořeny a jak byly přijaty širokou veřejností? Jak se liší koncepce a kompozice obou děl? Je podobnost mezi Fideliem a Daliborem skutečná, nebo pouze zdánlivá? Na všechny tyto otázky se pokusím najít odpovědi metodou komparace a podloţit své bádání pádnými argumenty. První kapitola mé práce se věnuje vlivům Beethovenovy dramatické tvorby na tvorbu Smetanovu. Vysvětluje, jaké jsou mezi těmito skladateli spojitosti, a také objasňuje, proč lze jejich díla porovnávat. Kapitola se zaměřuje i na Beethovenovo dramatické snaţení a na přínos Smetany pro českou národní operu. Uveden je také historický kontext české národní opery v období ‚před Smetanou‘. Druhá kapitola se zabývá důvody a historickými souvislostmi toho, proč byly obě opery veřejností zavrhnuty a kritizovány. Uţ zde nacházíme první podobnosti mezi oběma operami a zjišťujeme, proč je Fidelio Zdeňkem Nejedlým nazýván otcem Dalibora. Kapitola dále popisuje tzv. ‚boje o Dalibora‘, které otřásly českým uměleckým prostředím, věnuje se také rehabilitaci původní verze Fidelia, která nesla název Leonora. Třetí kapitola se zaměřuje na dějovou linii oper, na historické náměty a inspirace a porovnává, jak je zacházeno s klíčovými motivy v obou operách. Kapitola pokračuje srovnáním a rozborem analogických postav, tedy Dalibora a Florestana, Milady a Leonory, Rocca a Beneše. Kapitola dále odhaluje, jak je v jedné i druhé opeře pracováno s morálními a sociálními otázkami. Čtvrtá kapitola porovnává opery z hlediska hudební kompozice, hlasových poloh hlavních postav, hudebně-dramatického děje a orchestru. Zaměřuje se i na vyuţití a roli sborů v obou operách. Při psaní této bakalářské práce mi byla velkým pomocníkem kniha Zpěvohry Smetanovy od Zdeňka Nejedlého. Tato kniha rozebírá zpěvohry nejen v souvislosti s historickým kontextem, ve kterém vznikaly, ale rozebírá je také po stránce hudební a dramatické. K lepšímu 7 uchopení opery Dalibor mi poslouţily také tyto knihy: Smetanovy zpěvohry (Přemysl Praţák), Ţivot a dílo Bedřicha Smetany (Otakar Hostinský), Bedřich Smetana (Václav Holzknecht) a v neposlední řadě Smetanova operní tvorba od Jaroslava Jiránka, která popisuje především hudební a hudebně-dramatickou stránku Smetanových oper. O historickém kontextu české opery a opery ‚před Smetanou‘ pojednává Česká opera od Johna Tyrella. Knihy od Rudolfa Pečmana Beethoven dramatik a Beethovens Opernpläne popisují Beethovenovu operní tvorbu, jeho neuskutečněné operní plány a záměry a také způsob, jakým opery tvořil. Karel Tauš pak ve své knize Beethoven naznačuje moţné srovnání oper Fidelio a Dalibor. Hudební stránku a význam tónů v opeře Fidelio vystihuje Erich Schenk ve své knize Über Tonsymbolik in Beethovens Fidelio. Ţivot autora a jeho umělecké působení popisují knihy Sám proti osudu od Antonína Zhoře, Beethoven Rolanda Vernona a Galerie géniů: aneb kdo byl kdo Víta Haškovce. Primárními zdroji mi byla Operní libreta: Fidelio a Dalibor od Věry Dolanské a klavírní výtahy oper Gustava Friedricha Kogela a Zdeňka Nejedlého. 8 1 Vlivy (nejen dramatické) Beethovena na Smetanu Ludwig van Beethoven: dovršitel vídeňského klasicismu, syn francouzské revoluce a otec moderní hudby s rozhodujícím vlivem na vývoj klasické hudby v 19. a 20. století. Hudbě dal novou schopnost vývoje, nový dech, nový cíl, a není proto divu, ţe kdo chtěl v hudbě 19. století něco dokázat, nemohl opomenout Beethovena a jeho hudební inovace: „Kdo dovedl se pohrouţiti v neobsáhlé bohatství nových myšlenek a podnětů, jeţ Beethoven hudbě přinesl, a kdo svou vlastní silou dovedl v něm zachytiti určité ideje, ten rostl z Beethovena ve velkého
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