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Reception of Czech And Slovak Opera in Germany in Consideration of Bavarian State Opera in Munich
Leška, Rudolf ; Herman, Josef (advisor) ; Havelková, Tereza (referee)
This thesis examines from theatrical point of view the Janáčkian dramaturgy in German speaking countries within the context of local reception of Czech and Slovak opera and with special consideration of the Bavarian State Opera in Munich. The main referential base of research is German daily critique through which the Author presents an overview of more important productions of Leoš Janáček's operas. The Author then discusses the historical context of these productions, the stage history, German Janáčkian programme and roots of modern-day social-critical expressive staging of Janáček in German speaking area as compared to the more lyrical realistic Czech approach (to simplify). The discussed period is concluded with the year 1998.
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Folk elements in Suchoň´s works
Pechočiak, Adam ; MALÝ, Lubomír (advisor) ; UNTERMŰLLER, Karel (referee)
This work looks into the context of Eugen Suchoň's works, namely
the inspirational relation to the folk ethnic music of Slovakia. My intention
was to compare specific compositional approaches in which the author
combines the tradition of Western European avant-garde with the style
of the Slovak folk song. In this respect, we can see a unique approach
to the concept of the Slovak National Opera but also the special style
of Eugene Suchoň, in which the folk song has a thematic role. The work
deals with Eugen Suchoň's operas, in which he established Slovak
national music, which is proven by the categorization of the opera
Krútňava as a national Slovak opera. These contexts can eventually
transform into new inspiration for the current generation of composers.
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Reception of Czech And Slovak Opera in Germany in Consideration of Bavarian State Opera in Munich
Leška, Rudolf ; Herman, Josef (advisor) ; Havelková, Tereza (referee)
This thesis examines from theatrical point of view the Janáčkian dramaturgy in German speaking countries within the context of local reception of Czech and Slovak opera and with special consideration of the Bavarian State Opera in Munich. The main referential base of research is German daily critique through which the Author presents an overview of more important productions of Leoš Janáček's operas. The Author then discusses the historical context of these productions, the stage history, German Janáčkian programme and roots of modern-day social-critical expressive staging of Janáček in German speaking area as compared to the more lyrical realistic Czech approach (to simplify). The discussed period is concluded with the year 1998.
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