BEYOND THE SILVER MOON: EXPLORING THE LOST TRADITION OF DVOŘÁK’S OPERAS THROUGH A STUDY OF MYTH, MUSIC, AND NATIONALISM. JOHN CHRISTOPHER HOLLAND A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO © JOHN HOLLAND, 2018 ii ABSTRACT When one examines the compositional oeuvre of Antonín Dvořák, one bears witness to a catalogue of well-known works, and critical successes, in every genre except one, opera. Dvořák’s Cello Concerto, Op.104 is regarded as the pinnacle of the repertoire. The chamber works follow the pedigree of Mozart, Haydn, Beethoven, Schubert, and Brahms. The symphonic and orchestral works are held in the highest regard, and his grand choral works in Latin experienced critical successes in England and abroad. The question then arises, ‘What happened to Dvořák the opera composer’? With ten operas to his credit, which span his life, Dvořák was no stranger to the genre. Why is it that a composer who was known as a master of melody, and put the whole of his artistry into his operas, has so long been silent on the operatic stages of the world? While some of Dvořák’s operas have remained popular at home, the majority of them are lost in obscurity. Only Rusalka has begun to break onto the international opera scene, and only within the last thirty years. This research will examine Dvořák’s operas, specifically Jakobín and Rusalka, from a critical standpoint, focusing on such criteria as tonal structures, thematic material and motives, subject matter, Czech folklore and musical influences, textual language, nationalism, characters, compositional history, performance history, and reception. What was Dvořák’s role as an opera composer for the fledgling National Theatre in Prague, and how did his operas fit into the aesthetic, artistic, and political climates of his day? Why is Dvořák’s catalogue of operas still rarely heard today, even in Prague? The intent of this research is to vindicate and validate Dvořák as an opera composer; to show him to be an overlooked master in Nineteenth Century opera and the bridge between the Verdi and Wagner traditions. The direction of this research is the concept of ‘Czechness’ and what it meant to Dvořák. While contemporaries such as Wagner wrote heavily on their political, social, and patriotic views, Dvořák used his music as an outlet for his beliefs and national pride. iii DEDICATION To my parents, John and Marilyn Holland, for instilling in me the quest for knowledge and to strive for higher goals, and to embody my high school motto: Altiora Peto! To my brother and sister, Todd and Heather, and to all of my family, thank you for your love and support through everything that I do. To my loving wife Amanda, who has stood with me every step of the way through this journey. While you may not love Dvořák as I do, you love me enough to propel me through this research. I am forever grateful for your love and support! To my Grandpa, Todd Janik, for constantly asking me, ‘when are you going to sing in Czech’? You have received your wish tenfold, Grandpa, and I know you are listening from on high. To all Czechs living in foreign lands, longing to hear their songs sung again. I hope this research is a first step in returning Dvořák’s operas to you. Jen ve zpěvu svou našli úlevu! iv ACKNOWLEDGEMENTS A very special thank you to Dr. Lisette Canton, my PhD Advisor, for being my guide through waters of PhD research. Your guidance through the calms, as well as the storms, helped refine my research, and led me to ask the important questions. Thank you for being a perfect amalgamation of mentor and colleague. To my committee members, Dr. Mark Chambers and Prof. Stephanie Martin, thank you for lending your expertise in Dvořák orchestral music and Eighteenth-Century choral music respectively. Your support through this has been wonderful. Tere Tilban Rios has been a steadying factor in the process of this PhD. Her door was always open and she was always ready to help direct me through the process. A special thank you to two ‘offsite’ faculty, Dr. Timothy Cheek, and Dr. Mirka Zemanová, who have been invaluable resources in the fields of Czech sung diction, Czech opera and art song literature, and Czech musical and cultural history. Thank you for your continued friendship, and direction towards all things Czech. To Dr. Miloš Krajny, the Masaryk Memorial Institute, and to the Czech Consulate in Toronto, thank you for your support and camaraderie in re-discovering and promoting Czech music and Czech Culture within Canada. You created a base on which the performance aspect of my research can grow. Děkuji vám z mého srdce! Finally, thank you to two influential professors from my Masters degree; Dr. Don Neville, and Prof. Ted Baerg. As my studio voice teacher, Ted always urged me to seek out new and distinct repertoire that would set me apart. Back in 2008, Don prodded me to prepare a lecture on Rusalka for the London opera guild. This is what started me on the road to distinct research. v TABLE OF CONTENTS Abstract…………………………………………………………………………….….. ii Dedication……………………………………………………………………………... iii Acknowledgements…………………………………………………………………..... iv Table of Contents…………………………………………………………………….... v List of Tables………………………………………………………………………...... vii List of Figures…………………………………………………………………………. viii List of Illustrations…………………………………………………………………...... x Chapter One: Introduction…………………………………………………………….. 1 A Question Arises……………………………………………………………... 1 In The Beginning: The Czechs Journey from Nomadic Tribes to Nationhood.. 4 Chapter Two: The Evolution of Opera in Post-Napoleonic Europe…………………... 16 Chapter Three: The Birth of Czech Opera and the National Theatre…………………. 39 Chapter Four: Dvořák’s Life and Travels..……………………………………………. 54 Chapter Five: A Microcosm of Dvořák’s Opera; Analysis of Jakobín and Rusalka….. 65 Introduction to Analysis……………………………………………………….. 65 Analysis of Dvořák’s Jakobín…………………………………………………. 68 Analysis of Dvořák’s Rusalka…………………………………………………. 105 A Final Comparison of Jakobín and Rusalka……………………………….… 149 Chapter Six: The Performance History of the Operas………………………………... 153 Dvořák and the Press…………………………………………………………... 153 Czech vs German – Dvořák’s Lifelong Battle with Language………………... 165 Dvořák’s First and Last Foray into the Austro-German Opera Market……...... 181 vi Failure to Launch – Rusalka’s ‘Almost’ Vienna Premiere……………………. 184 Performance History of Dvořák’s Operas in Prague…………….…....……….. 187 Chapter Seven: Returning Dvořák’s Voice to the Operatic Stage………..…………… 194 Rusalka Performances in the Twentieth Century and Beyond………………… 194 Rusalka at the Dawn of the Twenty-First Century……….……………………. 200 Bringing Dvořák’s Operas into the Twenty-First Century……………………. 201 Accessibility and Awareness…………………………….……………….……. 202 Accessibility: Breaking Down The Language Barrier…...……………………. 202 Awareness: Dvořák’s Songs in the ‘New World’………..……………………. 204 Awareness: Writing on Dvořák…………………………..……………………. 206 Awareness: Performances………………………………..……………………. 206 Accessibility: Print or Perish……………………………..……………………. 207 Awareness: Recordings and Videos……………………...……………………. 209 In Conclusion………………………………………………………………….. 210 Bibliography…………………………………………………………………………... 213 Appendices…………………………………………………………………………….. 224 Appendix A………………………………………………………………......... 224 Appendix B……………………………………………………………………. 225 Appendix C……………………………………………………………………. 226 Appendix D……………………………………………………………………. 227 Appendix E……………………………………………………………………. 228 Appendix F…………………………………………………………………….. 229 Appendix G……………………………………………………………………. 230 Appendix H……………………………………………………………………. 231 Appendix I……………………………………………………………………... 232 Appendix J…………………………………………………………………….. 233 Appendix K……………………………………………………………………. 234 vii LIST OF TABLES Table 6.1: Performance History of Dvořák’s Operas……………………………………………………. 164 viii LIST OF FIGURES Figure 2.1 – Maria’s Act 1 aria from Donizetti’s Maria Stuarda.............................................................. 26 Figure 2.2 – Duet from Verdi’s Don Carlo, Act 2 sc. 1………………...….……………………………. 28 Figure 2.3 – The Lord Chancellor’s patter aria from Sullivan’s Iolanthe..……………………………… 37 Figure 3.1 – Opening pages of the duet “My Ciznou jsme Bloudili” from Dvořák’s Jakobín.................. 50 Figure 5.1 – The overture to Jakobin......................................................................................................... 74 Figure 5.2 – Opening two pages of Act 1, scene 1 of Jakobín - The opening of the Marian Hymn……. 77 Figure 5.3 – Minuet theme, Act 1, sc. 3…………………………………………………………………. 78 Figure 5.4 – The Count’s lament theme, Act 3, sc. 3……………………………………………………. 80 Figure 5.5 – Jiří’s Theme, Act 1, sc. 5…………………………………………………………………... 81 Figure 5.6 – Purkrabi’s theme…………………………………………………………………………… 82 Figure 5.7 – Jiří and Terinka’s first love theme…………………………………………………………. 83 Figure 5.8 – First stanza of Terinka’s aria from Jakobín………………………………………………... 85 Figure 5.9 – Bohuš’ Lullaby Theme……...……………………………………………………………... 87 Figure 5.10 – Benda’s theme from the opening of Act 2………………………………………………... 90 Figure 5.11 – The theme from Benda’s Serenade in honour of the count in Act 2, Sc.1……………….. 91 Figure 5.12 – A cappella section of the Benda’s Serenade, with Terinka’s coloratura above...…………93 Figure 5.13 – Sursum Corda theme in minor (Julie) and major (Benda), Act 3 Sc. 2…………………... 98 Figure 5.14 – The opening of the Serenade for children’s choir. Act 3 Sc.