Za kurtyną lat: polskie teatry operowe i operetkowe 1918 - 1939
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Polnisch |
| Veröffentlicht: |
Kraków
Oficyna Wydawn. "Impuls"
2008
|
| Ausgabe: | Wyd. 1. |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Zsfassung in engl. Sprache |
| Umfang: | 358, [1] s. il. 25 cm. |
| ISBN: | 9788373086272 |
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Datensatz im Suchindex
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|---|---|
| adam_text |
Spis
tresei
Od
Autorki
. 7
ROZDZIAŁ I. Teatry muzyczne w kulturze i polityce międzywojnia
. 11
ROZDZIAŁ
II.
Sceny reprezentacyjne
-
kryzysy chroniczne
. 29
Warszawa
. 29
Teatr Wielki
. 29
Teatry operetkowe
. 54
Poznań
. 61
Lwów
. 76
ROZDZIAŁ III. Sceny zdeterminowane
-
operowe ambicje w operetkowej codzienności
. 123
Katowice
. 123
Pomorze
. 137
Toruń
. 137
Bydgoszcz
. 141
Grudziądz
. 148
Kraków
. 149
Wilno
. 159
ROZDZIAŁ
IV.
Inicjatywy lokalne
-
ponad
sily i
środki
.197
Stanisławów
.197
Lublin
.202
Łódź
.203
Zakopane
.·.205
ROZDZIAŁ
V.
Sztuka inscenizacji
-
fantazje w klimacie epoki
.209
Opera warszawska
.209
Opera poznańska
.218
Lwów
.222
Opera wileńska
.227
Styl operetki
.233
ROZDZIAŁ
VI.
Polski repertuar współczesny
-
pod presją tworzenia narodowych dziel
.239
Opera
.239
Balet
.263
Operetka
.267
Aneks
1.
Premiery opery lwowskiej w latach
1920-1933
i w
1938
r
.279
Aneks
2.
Premiery opery wileńskiej w latach
1922-1925.287
Aneks
3.
Wykaz nowych oper, baletów i operetek polskich wystawionych
wiatach
1919-1938.291
Wykaz i źrddla ilustracji
.313
Abstract
.319
Bibliografia
.325
Indeks tytułów
.329
Indeks nazwisk
.339
Abstract
In the expectation that the First World War would contribute to the regaining of Polish
independence, opera theatres were being organized already during wartime. Many of the artists
and musicians were serving in the Russian, Prussian, or Austrian armies, nevertheless, the Opera
in Warsaw started in
1915
with the production of the national work
Halka.
The same year opera
houses in Cracow and in
Lwów
also began their activities. In
1916
in
Lwów Halhms
performed
for Marshall
Józef
Pilsudski and his officers. Afewyears later, in
1919,
in
Ее
already independent
Poland, the Opera in
Poznań
started with the performance of
НаОш
also. Directed by three
eminent conductors: Adam
Dołżycki, Piotr
Stermich-Valcrocciata and
Zygmunt Latoszewski,
the
Poznań
opera stage proved to be the most stable in the country, until the year
1939.
In its
repertoire it had operas, operettas and ballets. The best period for the Warsaw Opera was the
decade between
1919
and
1929,
under the management of conductor
Emil Młynarski.
On two
occasions, the opera was directed by the well-known soprano (also known abroad)
-Janina
Korolewicz-Waydowa, who in the years
1917-1918
and
1934-1936
experienced both, successes
and failures. This capital-based stage, being representative of a young state, the Warsaw Opera
had its fair share of problems. During three weeks in February and March of
1938
the Opera
staff had been on a sit-in strike.
Lwów
was always fortunate to have singers with beautiful voices. It also had a good school
of singing. Its Opera was part of the City Theatre. Its best years were assured by the talented
manager, actor and stage director
-
Ludwik Czarnowski.
Under his care, during the years
1921-1925,
and again between
1929
and
1930,
three music sections: opera, operetta and ballet
were doing very well. But even Czarnowski ended every year's season with a big financial loss.
In
1931
the
Lwów
Opera was taken over by The Music
&
Opera Lovers Society, and in
1933
it had finally collapsed. During the years
1935-1937
a few series of opera performances were
organized by artists from outside of
Lwów.
The famous bass Adam Didur, who settled in
Lwów,
where he also taught, in
1938-1939
attempted to reactivate the Opera.
Opera ambitions were quite alive in Silesia and in
Pomerania.
The Polish music stage
opened in Katowice in
1922
with
Halka
and it closed in
1932.
During the years
1926-1930
it
enjoyed a hardworking director, the Czech conductor Milan
Zuna.
In the north of the country
there arose the idea of three united theatres with an Opera stage
(Toruń-Bydgoszcz-Grudziądz)
.
319
But this idea stayed alive for one season
( 1925/1926) ;
after that, the opera's works were played for
one more year. Following this setback, operettas came and went through the
Toruń
City Theatre
repertoire, frequently with artistic success. In Bydgoszcz the music section of the City Theatre was
stronger and quiet stable, so in
1939
it was considered the best operetta in the country. In both
of these cities the music theatres were reliant on military orchestras.
In
Kraków,
on the other hand, there was the perennial problem of the lack of opera's
own stage, or of any permanent location suitable for performances. The small operetta's group
had the
Nowości,
the
Bagatela
and the Soldier's House Theatre, where performances were
held. The successive managements of the big and beautiful
Słowacki
Theatre didn't agree to
any music performances. The city's opera seasons were organized by the Music Society, or by
the Concert Office (between
1921
and
1923,
and again from
1931 unül 1933).
This was, in no
small part, due to the fact that the famous coloratura soprano Ada Sari was living at the time
in
Kraków,
and was taking part in the opera's performances. As time went on, the number of
performances had diminished. In the north of Poland, the city of
Wilno
was rich in traditions
connected with
Stanisław Moniuszko.
Its opera opened in
1922
with
Halka
and it ended in
1925
with
Hrabina.
The operetta's works were more fortunate. After a seven-year break, the operetta
called
Teatr Lutnia
was reopened in
1932,
and it remained active year after year. The theatre
attempted to stage performances also after the outbreak of the Second World War, which it
managed to do until
1941.
A special kind of music theatre had been established in
Stanislawów.
In
1870
The
Mo¬
niuszko
Music Society was founded, which provided for the creation of the school of music and
a semi-professional musical stage. In
1901
the local artists had performed
НаШа.
As time went
on, other opera performances were organized. From
1921
a number of guest singers from
Lwów
and from all over the country played in many operas produced by the theatre. Even the famous
bass Adam Didur lent his voice to
Stanislawów's
Faust in
1924.
In
1929
a new, comparatively
modern theatre building was opened, and in
1930
Straszny dwór
could be performed. From
1926
until
1933
it was directed by the well known conductor and composer Alfred
Stadler.
For
the local company, those were the years of the pinnacle of their existence. Afterwards,
Tadeusz
Jarecki
initiated various repertory as well.
In Zakopane and to a lesser degree in
Grudziądz,
the idea of the open-air opera theatre
bore fruit. During summertime, with the mountainous landscape in the background, the works
of
Moniuszko,
for the most part, were performed in the years
1931-1933,
then in
1935,
and
again in
1937.
In Lublin, in the City Theatre, the operetta's repertoire was performed during
the
1919-1920
season. From
1921
until
1925
the theatre had its own small orchestra, a pair
of dancers and some reliable singers. The incidental opera performances were given only in
1925
and in
1933.
The city of
Łódź
could boast The Symphony Orchestra since
1915.
Thanks
320
to its existence opera performances were organized with soloists from Warsaw (during the
1918-1919
season)
.
Unfortunately, the city's most suitable stage
-
The Grand Theatre, burned
down in
1920.
After this misfortune, the various operas and the operettas were shown on dif¬
ferent stages only infrequently. Many singers and conductors had founded a road company and
travelled around the country. In the years of the world economic crisis, numerous cities without
their own opera companies could enjoy opera and operetta performances, frequently of poor
quality, but sometimes quite good. Whatever their quality, they were always good entertainment
for the audience.
During this entire period, the opera ambitions of the Polish state were quite high. The
goal was to integrate the Polish national identity, after more than a century of political sub¬
jugation by the partitioning foreign powers. The opera was to be the symbol of the power of
Polish culture in the newly resurrected state. Hence, the anniversaries of battles, insurrections,
unifications, independence days and even official international visits to Poland were celebrated
with the opera. During special night premieres one could see government officials, army officers
and the clergy take their seats. The
1920s
were illustrious for the Warsaw operetta. Numerous
talents (directors, musicians, writers, divas) were involved in a variety of artistic activities. Thanks
to their efforts, spectacular productions were shown on the three Warsaw stages. The city was
being compared to Vienna.
During the Trade Fair in
Poznań,
the East Trade Fair in
Lwów
and the North Trade Fair
in
Wilno,
special opera and operetta seasons were organized in those very cities. The wonderful
artistic power of a free Poland was presented in
1929
in
Poznań,
on the occasion of the General
Country Exposition (PeWuKa), in commemoration of the 10th anniversary of the country's
Independence. But despite their all-evident representative function, no one music theatre was
under state control. Theatres were financed by local municipalities, and the money was always
in short supply. Often the artists' groups or theatre directors had to take on a lease on the
theatre from the municipality, and then,
Ее
mandatory license from the Polish Stage Artists
Union
(ZASP).
There were always many candidates for the lease. The perennial financial tro¬
ubles, however, remained a common feature. Then, the number of the music theatres began to
decline. In the year
1922,
the theatrical high point, there were five operas and eight operettas
in the country, while in
1931
(the year of the world crisis)
,
not one opera remained active. In
1934
there were two operas and four operettas active in Poland.
As far as the opera repertoire was concerned, national works were at the top of die roster.
It was a given that
a Moniuszko
opera will always enjoy good attendance. His works were per¬
formed on all sorts of occasions, at openings of a new stage, in celebration of a new director,
at season's openings and closings, in commemoration of the May
3rd
Constitution and during
other ceremonial occasions. Such celebrations were an opportunity for staging performances
321
by other composers also. There were the works of
Władysław Żeleński [Konrad
Walknrod, Go-
plana,
Stara baśń, Janek),
the
Мати
by
Ignacy
Paderewski, Maria by Roman Statkowski,
Karol
Kurpinski's ballet
Wesele w Ojcowie.
Such historical vaudevilles as
Krakowiacy i Górale
were also
enjoyed. Many Polish works were staged during the
internar
period. From
1919
until
1938
twenty
eight operas, four opera-ballets and ten ballets were put on the music stage. Three of them
were being performed in several cities with huge success: Casanovahy
Różycki,
Ugenda
Bałtyku
by
Nowowiejski
and
Zygmunt
August by Joteyko. All authors had based their works either on
Polish tales (Pan Twardowski,
Boruta),
on the history of Poland
(Królowa Jadwiga),
or on Polish
literary tradition
(Krzyżacy
-
Sienkiewicz,
Beatrix
Cenci
-
Słowacki, Popieliny
-
Kasprowicz, Damy
i huzary
-
Fredro)
.
Only a few of the works were based on new original script: King Roger by
Szymanowski/Iwaszkiewicz, Taty
by
Nowowiejski/Zegadłowicz
and
Pomsta Jontkowa
by Wallek-
Walewski (which was the continuation of the plot from
Halka)
.
A special worth had the works
of
Karol
Szymanowski. A part of his King Roger, an expressionist drama one-act Hagith and two
ballets: Harnasiezaa
Mandragora
were staged.
The genera repertoire was the typical genre of the day. The central part of the posters
was, of course, occupied by Italian operas, with the most popular works by Verdi, Puccini and
Л
barbiere di Stiglia
by Rossini at the top of the list. Quite frequently one could see French operas
by Gounod, Bizet, Offenbach,
Halévy, Delibes,
Meyerbeer, Massenet, and the Czech operas by
Smetana, Dvořák
and
Janáček.
From the Russian works, very popular were Demon by Rubinstein
and Evgienij Oniegin by Czajkowski. But the value of a repertoire was ultimately determined by
Wagner. In this domain, the strongest tradition was in the city of
Lwów.
In
1911,
all four titles of
the cycle Ring-were staged there. The singer Adam Okoriski (bass) organized Wagner Festivals.
The last one took place in
1923.
In later years occasionally
Der fliegende Holländer, Tannhäuser,
Lohengrin and the others were played.
Poznan also
had its share of Wagner, whose Die
Walküre
and
Siegfriedwere
performed. The Warsaw Opera staged even more Wagner, including Tristan
und
Isolde,
Der Meistersinger von Nürnberg,
Parsifal
zná
Die Götterdämmerung.
The smaller, more
modest opera theatres in
Toruń,
Katowice and
Kraków
had mustered up to a single Wagner
as well.
However rarely, modern European works were also staged. During their lifetime famous
composers such as Richard Strauss, Maurice Ravel, Igor Stravinsky, Ernst
Křenek
had their operas
and ballets performed on Polish stages, mainly in Warsaw
(DerRosenhvalierJosephslegenä,
Salome,
L
'Heure espagnole,
Petruschka,
Jonny
spielt auf).
There were
also
productions
in
Lwów
(Salome) and in
Poznań
(Ariadne auJNaxos,
L
'oiseau de feu)
.
With greater frequency, however, and more willingly,
theatres would play the fashionable operas in the veristic and the
neoromantic
style, like those
by Wolf-Ferrari, Giordano, Kienzl, Schillings,
Goldmark. An
ambitious opera programme was
always the hallmark of the
Poznań
stage. Works by Handel,
Gluck,
Mozart, Borodin,
Saint-Saèns,
322
Weinberger were performed. The top notch titles were occasionally visible in
Lwów
(La Vally,
Der Freischütz,
Le
Prophete,
Falstaff), in Katowice
(Suor
Angelica), in
Toruń
(Aduana
Lecouvreur)
and, of course, in Warsaw
(
The Golden Cock, Gianni
Schicchi)
.
All these foreign works were being
sung in Polish. It was mostly the singers, who did the translations. The presentations were far
from precise. Big cuts in whole parts of music were common, for example in the ensembles,
ballet scenes, and even airs. The quality of productions were reflected by the qualities of choirs,
orchestras, conductors. The opera repertoire was changing. In good theatres, in a successful
year there were approximately
40
titles in a season.
Without a doubt, it was the artists who were the strongest asset of the Polish opera. Among
the singers there were two wonderful tenors on the Warsaw stage,
Ignacy Dygas
and
Stanisław
Gruszczyński.
In addition, there was Adam
Dobosz.
Polish musical life was also enriched by
guest performances of
Jan Kiepura.
There were also gifted sopranos with beautiful voices like
those of Helena
Zboińska-Ruszkowska,
Maria
Mokrzycka, Matylda Polińska-Lewicka, Zofia Fe-
dyczkowska, Ewa Bandrowska-Turska, Franciszka Platówna and Helena Lipowska.
Among the
mezzos there was the distinguished
Halina Leska
and Wanda
Warmińska
with a voice of a very
large scale. There was no lack of good baritones, such as
Eugeniusz
Mossakowski and
Zenon
Dolnicki (who was a Ukrainian by origin), and impressive bass
-
Karol Urbanowicz.
Many of
the singers were well-known abroad, among them tenor
Kazimierz Czamecki,
bass
Zygmunt
Zaleski, and the sopranos
Stani
Zawadzka
and Ada Sari. Top talent was present among the
soloists of the ballet. There were the dancers in the classic style such as
Irena Jedyńska,
Irena
Szymańska, Zygmunt Dąbrowski,
but also there were
Feliks Parnell,
or
Halina Szmolcówna and
Olga Slawska,
representing characteristic and
modern
styles respectively.
The operetta's stages were quick to take up for their repertoire the news from Berlin,
Vienna and Paris. The plot frequently took one to exotic landscapes, which induced the pro¬
duction of many rich stage effects, often in kitschy manner. This was entertainment, to be sure,
but in contemporary style, with cars, planes, yachts, luxury hotels, fashionable clothing, etc.
The new Polish works of this kind were similar in
climat.
Their number was more than thirty in
the
internar
years. The best ones were written
byjerzy Lawina-Świętochowski,
Alfred T.
Müller,
Fanny Gordon (music) and by Marian Hemar (text)
.
Often one could frequently find in them
the reflection of contemporary Polish customs, trends, language and even political jokes (The
career of Alfa Omega, Boat
"Panna Wodna').
There were many very good artists of the operetta
genre, skilled at singing, dancing and playing comedy, among them:
Jozef
Redo,
Ludwik Sem-
poliński, Władysław Szczawiński, Kazimierz Dembowski, Filip Kuligowski,
and the
divas:
Wiktoria
Kawecka, Lucyna Messal, Kazimiera Niewiarowska,
and the Swede
-
Elna Gistedt.
All
musical
performances were interesting in their visual aspect. The great set designer
Wincenty
Drabik had worked for fourteen years at the Warsaw Opera creating decorations rich
323
in colour and full of fantasy and symbols. In
Lwów,
thanks to the work of
Zygmunt
Balk, the
stage sets were realistic in style, beautiful and full of details.
Stanislaw
Jarocki, who was working
for different stages, had a rare gift: on the one hand he could make good use of form and spa¬
ce; on the other hand, he could create the necessary historical style. In
Wilno
the care for the
musical stage settings was the responsibility of The Society of Fine Arts. All in all, operas and
operettas had their own visual stage style, often brilliant and monumental, complete with light
effects and technical tricks.
During the first decade of independence, opera and operetta were the most popular
forms of performing arts with music. Later, in the
1930s,
the rapid evolution of broadcast, films
and the development of recording industry attracted a huge public. In keeping with the times,
opera and operetta artists had quickly found their place and gained a strong position in these
new media. The opera evenings had live transmissions (from
Poznań,
Warsaw,
Kraków,
Katowi¬
ce)
,
while singers starred in such Polish opera films as
Найа
and
Straszny dwór.
They also made
phonographic recordings. The first Polish record company,
Syrena
Record, produced in
1932
the almost complete
Halka
on
14
albums.
The opera life enjoyed feverish temperature. There were press discussions about the ope¬
nings or closings of theatres, columns about change of directors, reports on reforms in the opera
houses, gossip on an indecent plot of a new Polish opera, descriptions of the indecent undressing
of a well-known diva in a new operetta, etc. Public opinion was often moved by the scandals: the
would-be duel between
dir.
Młynarski
and the vice-president of Warsaw, or the slap in the face
received at the Warsaw Opera by the famous dancer Serge Lifar, from the very talented choreogra¬
pher Jan Cieplinski,. These media worthy events and the artistic opera and operetta endeavours
all received coverage in newspapers and in periodicals. The critics possessed the right skills and
competence; many of them were also good musicians and composers.
The Second World War brought rain and devastation to that world of theatre. Pilfered
or turned to ashes were the buildings, the theatre libraries with their music, the documents,
the posters. The people vanished. The restoration of this lost world to our memory and to our
knowledge are the reasons behind this book. |
| any_adam_object | 1 |
| author | Komorowska, Małgorzata 1939- |
| author_GND | (DE-588)1252697007 |
| author_facet | Komorowska, Małgorzata 1939- |
| author_role | aut |
| author_sort | Komorowska, Małgorzata 1939- |
| author_variant | m k mk |
| building | Verbundindex |
| bvnumber | BV035426507 |
| callnumber-first | M - Music |
| callnumber-label | ML1736 |
| callnumber-raw | ML1736.5 |
| callnumber-search | ML1736.5 |
| callnumber-sort | ML 41736.5 |
| callnumber-subject | ML - Literature on Music |
| ctrlnum | (OCoLC)318197356 (DE-599)BVBBV035426507 |
| edition | Wyd. 1. |
| era | Geschichte 1900-2000 Geschichte 1918-1939 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 1918-1939 |
| format | Book |
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| geographic | Polen Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV035426507 |
| illustrated | Not Illustrated |
| indexdate | 2025-01-11T13:04:20Z |
| institution | BVB |
| isbn | 9788373086272 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017346961 |
| oclc_num | 318197356 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 358, [1] s. il. 25 cm. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Oficyna Wydawn. "Impuls" |
| record_format | marc |
| spelling | Komorowska, Małgorzata 1939- Verfasser (DE-588)1252697007 aut Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 Małgorzata Komorowska Wyd. 1. Kraków Oficyna Wydawn. "Impuls" 2008 358, [1] s. il. 25 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1900-2000 Geschichte 1918-1939 gnd rswk-swf Geschichte Musical theater Poland History 20th century Opera Poland 20th century Oper (DE-588)4043582-9 gnd rswk-swf Operette (DE-588)4043602-0 gnd rswk-swf Polen Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Oper (DE-588)4043582-9 s Geschichte 1918-1939 z DE-604 Operette (DE-588)4043602-0 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Komorowska, Małgorzata 1939- Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 Geschichte Musical theater Poland History 20th century Opera Poland 20th century Oper (DE-588)4043582-9 gnd Operette (DE-588)4043602-0 gnd |
| subject_GND | (DE-588)4043582-9 (DE-588)4043602-0 (DE-588)4046496-9 |
| title | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 |
| title_auth | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 |
| title_exact_search | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 |
| title_full | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 Małgorzata Komorowska |
| title_fullStr | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 Małgorzata Komorowska |
| title_full_unstemmed | Za kurtyną lat polskie teatry operowe i operetkowe 1918 - 1939 Małgorzata Komorowska |
| title_short | Za kurtyną lat |
| title_sort | za kurtyna lat polskie teatry operowe i operetkowe 1918 1939 |
| title_sub | polskie teatry operowe i operetkowe 1918 - 1939 |
| topic | Geschichte Musical theater Poland History 20th century Opera Poland 20th century Oper (DE-588)4043582-9 gnd Operette (DE-588)4043602-0 gnd |
| topic_facet | Geschichte Musical theater Poland History 20th century Opera Poland 20th century Oper Operette Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017346961&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT komorowskamałgorzata zakurtynalatpolskieteatryoperoweioperetkowe19181939 |