# Dvořák operas



## Hermastersvoice (Oct 15, 2018)

Any views on the merits of Dvořák as an opera composer? Yes, Rusalka is a master piece but so is Jakobin, Devil and Kate, Armida, Dimitrij and Spectre’s Bride (an oratorio in name). what What recordings should one go for?


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## Rogerx (Apr 27, 2018)

Hermastersvoice said:


> Any views on the merits of Dvořák as an opera composer? Yes, Rusalka is a master piece but so is Jakobin, Devil and Kate, Armida, Dimitrij and Spectre's Bride (an oratorio in name). what What recordings should one go for?


I only am familiar wit Rusalka (who haven't) and I've heard Armia once or twice, but that's it.
Sorry.


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## gvn (Dec 14, 2019)

To me, Dvorak is one of the very greatest of opera composers. His operas are (if I may adapt Mahler) like the world: they encompass everything. He’s equally at home with comedy and tragedy, fantasy and reality, peasantry and royalty. Like Mozart and Tchaikovsky, he seems constitutionally incapable of writing anything dull or ugly, anything that doesn’t fall attractively on the ear. Also, he never seems to grind an axe, or to impose his own personality on the work, or to ventilate private hangups; rather, he gives the impression that he simply likes human beings and that’s why he enjoys writing about them. One of his librettos (Dimitrij) comes from a literary source of quite outstanding quality; four others (Jakobin, Devil & Kate, Rusalka, Armida) are well above average by operatic standards. Being (a) a viola player and (b) a symphonist, he writes real music for the orchestra, as well as for the voice. And he never writes the same opera twice: each is radically different from each of the others.

If he had written in Russian or German or Italian or French, his major operas would long since have entered the standard international repertory. But he wrote in a “minor” language, in which very few singers are comfortable, and (unlike, say, Smetana’s Bartered Bride) his operas don’t work well in translation because his vocal lines are too closely tailored to the grain of the original text.

Recordings? Well, in our household, each of the following sets comes down from the shelves repeatedly, and always with pleasure:

THE CUNNING PEASANT (1878) cond. Vajnar (Supraphon, 1985-1986)

DIMITRIJ (1881) cond. Albrecht (Supraphon, 1989)

JAKOBIN (1889) cond. Pinkas (Supraphon, 1977)

THE DEVIL AND KATE (1899) cond. Pinkas (Supraphon, 1979)

RUSALKA (1901) cond. Chalabala (Supraphon, 1961); cond. Neumann (studio, Supraphon, 1982-1983, not to be confused with the drastically cut 1987 live performance on Orfeo); cond. Mackerras (Decca, 1998)

ARMIDA (1904) cond. Albrecht (Orfeo, 1995)

I enjoy all the above about equally. Certainly I don’t hear Rusalka as being any “better” than the others (but then, I don’t hear the New World as any “better” than most of Dvorak’s other symphonies, or the American as any “better” than most of his other string quartets). Of the three classic recordings of Rusalka, I’d say Chalabala is the friendliest in tone, Neumann probes the score’s light & shade most deeply, and Mackerras is the most sumptuous. 

Sound quality of each recording is exactly what you’d expect for its time & place. Nearly all the prinicipal roles are given to strong, characterful singers--there are remarkably few “Slavonic wobblers” among them. Except on the Mackerras set, all or nearly all the singers appear to be native Czech speakers thoroughly at home in the language (which audibly makes a difference, in this repertoire). The original CD release of each comes with libretto & English translation; I don’t know whether this may have vanished from budget reissues.

I don’t mean to imply that every recording of a Dvorak opera has been successful! The above list consists only of those that I personally find most satisfying.


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## wkasimer (Jun 5, 2017)

> RUSALKA (1901) cond. Chalabala (Supraphon, 1961); cond. Neumann (studio, Supraphon, 1982-1983, not to be confused with the drastically cut 1987 live performance on Orfeo);


The cuts are indeed regrettable, but the live Neumann performance is worth hearing for Peter Dvorsky's fabulous Prince.


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## Hermastersvoice (Oct 15, 2018)

I’m glad to learn that I’m not the only person to appreciate Dvorak’s operas - I agree, he is is up there with the very best and the only obstacle I can think of is the unfamiliarity of the Czech language. On the other hand, that was never an issue for the popularity of Janacek. Perhaps Dvořák as a prodigious symphonist, composer of chamber music and oratorios unjustly overshadows the opera composer. In terms of versatility there was nobody like him, quite apart perhaps from Mozart - I think Mackerras made a point to that effect. I agree with the favoured recordings, though I prefer the individuality of voices and the rhythmic subtleties of Chalabala’s Devil and Kate. And perhaps I have less time for the diva of R. Fleming when you can have Subrtova who goes straight to the notes, with equally beautiful voice and to more arresting affect. What about Spectre’s Bride? An opera? Was it ever staged? Krombholc made a faboulous recording with the Czech Phil, with Veselka in charge of the choir.


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## gvn (Dec 14, 2019)

Fully agree about the strong points in Neumann's live Rusalka and Chalabala's Devil & Kate. Indeed it seems to me that, precisely because Dvorak creates "real" human characters, his operas are amenable to a multiplicity of approaches. Compare e.g. Chalabala's Rusalka with Neumann's studio set. In the former, Subrtova absolutely commands every aspect of the role, and the result is uniquely thrilling; in the latter, Benackova brings a special vulnerability or fragility to the role, and the result is uniquely poignant. In the former, the Water Goblin is warm & vibrant; in the latter, he is dark & menacing--they almost seem to be in two different operas! That's the nature of a born dramatist: he creates characters that can be viewed from multiple sides.



Hermastersvoice said:


> What about Spectre's Bride? An opera? Was it ever staged?


I'd like to know this too. In fact much of Dvorak's work (like Mozart's) appears to me to have a strong dramatic streak. I can imagine his symphonic poems staged as "mute operas" (not necessarily ballets). Like Mozart, he thrives on the interplay of multiple voices, multiple viewpoints. When you restrict both composers to a single voice (in their solo piano music), I feel in their work a slight shallowness that I never sense elsewhere.


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## Hermastersvoice (Oct 15, 2018)

The “ mute operas” of the late tone poems are also undeservedly neglected on record ; I’ve always had a special regard for Chalabala’s effort (the woodwind!); the way he bends the rhythm but never losses the pulse; there’s an undercurrent of a dark ominous quality that Mackerras doesn’t quite capture, though he’s in better sound. The works of Dvořák is just so much more than the 9th symphony. There’s also something about the voices on the older opera recordings that has been a little lost; a strong line of tenors used to serve these works; Blachut, Zidek, Pribyl, Dvorsky, amply supported by Subrtova, Benackova, Randova, Soukopova (heart starts racing), Haken, Berman as foil/villain.


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## gvn (Dec 14, 2019)

Available information about recordings of Dvořák's operas seems to be patchy and inaccurate (the same errors being copied from website to website). Therefore, I've tried to compile a reasonably comprehensive list of the audio and video recordings issued commercially. Hope this is some use, and isn't too full of blunders.

The list includes only recordings in the original language (German for _Alfred_, Czech for all the others) or in English. (Many of Dvořák's Czech operas have also been recorded in German translation.) Only commercially issued CD, DVD, and Blu-ray releases are listed. Minor abridgements are not noted.

Audio recordings that I regard as reasonably safe purchases are asterisked. Video recordings are categorized in neutral terminology as "filmed outdoors" (in naturalistic settings), "historically informed staging" (sets, costumes, and stage action basically as indicated by the composer and/or librettist), or "Regietheater staging" (sets, costumes, and stage action basically devised by the production team).

Note that the two settings of _King and Charcoal Burner _are two different operas with completely different music (not original and revised forms of the same score).

*Alfred (1870)*

*2014 (CD: Arco Diva UP 0140-2 612). Alfred: Felix Rumpf; Alvina: Petra Froese; Harald: Ferdinand von Bothmer; Gothron: Jörg Sabrowski; Sieward: Peter Mikuláš; Dorset/Bote: Tilmann Unger; Rowena: Jarmila Baxová. Czech Philharmonic Choir Brno; Prague Radio Symphony Orchestra; conducted by Heiko Mathias Förster.

*Král a uhlíř (King and Charcoal Burner), first setting (1871)*

2019 (CD: Arco Diva, forthcoming). Liduška: Kateřina Kněžíková; Jeník: Richard Samek; Král Matyáš: Roman Hoza; Matěj: Jozef Benci; Anna: Lucie Hilscherová; Jindřich: Josef Moravec; Královna: Dana Burešová; Eva: Jana Sibera; Sekáček: Jan Šťáva; 1. lovec: Ondřej Koplík; 2. lovec: Michal Onufer. Prague Philharmonic Choir; Czech Radio Symphony Orchestra; conducted by Tomáš Brauner.

*Král a uhlíř (King and Charcoal Burner), second setting (1874)*

1989 (CD: Supraphon SU 3078-2 611). Král Matyáš: René Tuček; Matěj: Dalibor Jedlička; Anna: Drahomíra Drobková; Jindřich: Viktor Kočí; Liduška: Jitka Svobodová; Jeník: Miroslav Kopp; 1. kavalír: Štěpán Buršík; 2. kavalír: Jaroslav Prodělal. Prague National Theatre Chorus and Orchestra; conducted by Josef Chaloupka. (Half-length abridgement.)

*2005 (CD: Orfeo C 678 062 H). Král Matyáš: Dalibor Jenis; Matěj: Peter Mikuláš; Liduška: Lívia Ághová; Anna: Michelle Breedt; Jeník: Michal Lehotsky; Jindřich: Markus Schäfer. Prager Kammerchor; WDR Rundfunkchor Köln; WDR Sinfonieorchester Köln; conducted by Gerd Albrecht.

*Tvrdé palice (The Stubborn Lovers) (1874)*

*2003 (CD: Supraphon SU 3765-2 631). Vávra: Roman Janál; Toník: Jaroslav Březina; Říhová: Jana Sýkorová; Lenka: Zdena Kloubová; Řeřicha: Gustáv Beláček. Prague Philharmonic Choir; Prague Philharmonia; conducted by Jiří Bělohlávek.

*Vanda (1875)*

*1951 (CD: Supraphon SU 3007-2 602). Vanda: Drahomíra Tikalová; Božena: Štefa Petrová; Slavoj: Beno Blachut; velekněz: Karel Kalaš; Lumír: Bořek Rujan; Homena: Ludmila Hanzalíková; Roderich: Václav Bednář; posel: Zdeněk Jankovský. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by František Dyk. (Substantially abridged.)

1999 (CD: Orfeo C 149 0003 F). Vanda: Olga Romanko; Božena: Irina Čistjakova; Slavoj: Peter Straka; velekněz: Pavel Daniluk; Lumír: Ivan Kusnjer; Homena: Michelle Breedt; Roderich: Ivan Kusnjer; posel/1. rytíř: Jörg Pavelec; hlasatel/2. rytíř: Gerd Grochowski; 3. rytíř: Petr Frybert. Prager Kammerchor; WDR Rundfunkchor Köln; WDR Sinfonieorchester Köln; conducted by Gerd Albrecht. (Libretto in Czech only.)

*Šelma sedlák (The Cunning Peasant) (1877)*

*1985-1986 (CD: Supraphon SE 0019-2 632). Kníže: Václav Zítek; kněžna: Eva Děpoltová; Martin: Karel Berman & Karel Průša; Bětuška: Jitka Soběhartová; Veruna: Marie Veselá; Václav: Leo Marian Vodička; Jeník: Josef Kundlák; Berta: Božena Effenberková; Jean: Miroslav Kopp. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by František Vajnar.

*Dimitrij (1882)*

1946 (CD: Beno Blachut Society SBB 002-04-02). Dimitrij: Beno Blachut; Marfa: Marta Krásová; Marina: Zdenka Hrnčířová; Xenie: Marie Budíková; Basmanov: Karel Kalaš; Šujskij: Stanislav Muž; Jov: Jaroslav Veverka; Něborský: Vladimír Jedenáctík; Bučinský/Lipský: Jan Soumar. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by Karel Nedbal. (Kovařovic version.)

*1989 (CD: Supraphon SU 3793-2). Dimitrij: Leo Marian Vodička; Marfa: Drahomíra Drobková; Marina: Magdaléna Hajóssyová; Xenie: Lívie Ághová; Basmanov: Peter Mikuláš; Šujskij: Ivan Kusnjer; Jov: Luděk Vele; Něborský: Zdeněk Harvánek; Bučinský: Pavel Haderer. Prager Kammerchor; WDR Rundfunkchor Köln; WDR Sinfonieorchester Köln; conducted by Gerd Albrecht. (Original version.)

*Jakobín (1888)*

*1977 (CD: Supraphon SU 11 21902 612). Hrabě: Karel Průša; Bohuš: Václav Zítek; Adolf: René Tuček; Julie: Marcela Machotková; Filip: Karel Berman; Jiří: Vilém Přibyl; Benda: Beno Blachut; Terinka: Daniela Šounová; Lotinka: Ivana Mixová. Kühn Mixed Choir; Brno Philharmonic Orchestra Children's Chorus Kantiléna; Brno Philharmonic Orchestra; conducted by Jiří Pinkas.

2001 (CD: Fonè 024). Hrabě: Valentin Pivovarov; Bohuš: Markus Werba; Adolf: Alessandro Grato; Julie: Tatiana Monogarova; Filip: Mirco Palazzi; Jiří: Michal Lehotský; Benda: Alasdair Elliot; Terinka: Mariana Panova; Lotinka: Rebecca Sharp. Wexford Festival Opera Chorus; National Philharmonic Orchestra of Belarus; conducted by Alexandre Voloschuk.

2003 (CD: Orfeo 641 043). Hrabě: Mark Holland; Bohuš: Marcin Bronikowski; Adolf: Christoph Stephinger; Julie: Andrea Danková; Filip: Peter Mikuláš; Jiří: Michal Lehotský; Benda: Eberhard Francesco Lorenz; Terinka: Lívia Ághová; Lotinka: Mechthild Georg. Prager Kammerchor; WDR Rundfunkchor Köln; Knaben des Kölner Domchores; WDR Sinfonieorchester Köln; conducted by Gerd Albrecht.


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## gvn (Dec 14, 2019)

*Čert a Káča (The Devil and Kate) (1899)*

*1955 (CD: Supraphon SU 3943-2). Jirka: Lubomír Havlák; Káča: Ludmila Komancová; její máma: Věra Krilová; Marbuel: Přemysl Kočí; Lucifer: Rudolf Asmus; čert vrátný: Karel Berman; kněžna: Marie Steinerová; komorná: Jaroslava Vymazalová; maršálek: Jaroslav Horáček; muzikant: Rudolf Vonásek. Prague National Theatre Chorus and Orchestra; conducted by Zdeněk Chalabala.

*1979 (CD: Supraphon SU 11 1800-612). Jirka: Miloš Ježil; Káča: Anna Barová; její máma: Daniela Suryová; Marbuel: Richard Novák; Lucifer: Jaroslav Horáček; čert vrátný: Jan Hladík; čert strážce: Aleš Šťáva; kněžna: Brigita Šulcová; komorná: Natálie Romanová; maršálek: Pavel Kamas; muzikant: Oldřich Polášek. Brno Janacek Opera Orchestra; conducted by Jiří Pinkas.

1988 (DVD: Kultur D4443). Jirka: Joseph Evans; Kate: Anne-Marie Owens; Marbuel: Peter Lightfoot; Kate's Mother: Joan Davies; Musician: Michael Forest; Children: Gavin Clare, Ross Dunphy; Lucifer: Marko Putkonen; Gatekeeper: Phillip Guy-Bromley; Hell Guard: Geoffrey Davidson; Solo Dancer: Julie Wong; Princess: Kristine Ciesinski; Chambermaid: Kathleen Tynan; Marshal: Alan Fairs. Wexford Festival Opera Chorus and Orchestra; conducted by Albert Rosen; stage direction by Francesca Zambello. (Historically informed staging. Sung in English.)

2007 (CD: Orfeo C 777 082 H). Jirka: Peter Straka; Káča: Michelle Breedt; její máma: Lenka Kučerová; Marbuel: Peter Mikuláš; Lucifer: Arutjun Kotchianin; čert vrátný: Carsten Sabrowski; kněžna: Olga Romanko; komorná: Brigitte Schweizer; maršálek: Carsten Sabrowski; muzikant: Boris Pohlmann. Prager Kammerchor; WDR Rundfunkchor Köln; WDR Sinfonieorchester Köln; conducted by Gerd Albrecht.

*Rusalka (1900)*

1952 (CD: Supraphon SU 3811-2 602). Rusalka: Ludmila Červinková; vodník: Eduard Haken; princ: Beno Blachut; ježibaba: Marta Krásová; cizí kněžna: Marie Podvalová; 1. lesní žínka: Maria Tauberová; 2. lesní žínka: Miloslava Fidlerová; 3. lesní žínka: Věra Krilová; hajný: Jiří Joran; kuchtík: Ludmila Hanzalíková; lovec: Přemysl Kočí. Prague National Theatre Chorus and Orchestra; conducted by Jaroslav Krombholc.

*1961 (CD: Supraphon SU 0013-2 612). Rusalka: Milada Šubrtová; vodník: Eduard Haken; princ: Ivo Žídek; ježibaba: Marie Ovčačíková; cizí kněžna: Alena Míková; 1. lesní žínka: Jadwiga Wysoczanská; 2. lesní žínka: Eva Hlobilová; 3. lesní žínka: Věra Krilová; hajný: Jiří Joran; kuchtík: Ivana Mixová; lovec: Václav Bednář. Prague National Theatre Chorus and Orchestra; conducted by Zdeněk Chalabala.

1962 (DVD: Filmexport 9602). Rusalka: Jana Andrsová (sung by Milada Šubrtová); vodník: Josef Hlinomaz (sung by Ondrej Malachovský); princ: Vladimír Ráž (sung by Zdeněk Švehla); ježibaba: Jiřina Šejbalová (sung by Věra Soukupová); cizí kněžna: Ivana Mixová. Prague National Theatre Chorus and Orchestra; conducted and film direction by Václav Kašlík. (Filmed outdoors. Substantially abridged; Czech subtitles only.)

1975 (DVD: Supraphon SU 7008-9 611). Rusalka: Kateřina Macháčková (sung by Milada Šubrtová); vodník: Eduard Haken; princ: Miroslav Nohýnek (sung by Ivo Žídek); ježibaba: Slávka Budínová (sung by Marie Ovčačíková); cizí kněžna: Marie Málková (sung by Alena Míková). Prague National Theatre Chorus and Orchestra; conducted by Zdeněk Chalabala; film direction by Bohumil Zoul. (Filmed outdoors. Soundtrack from the 1961 audio recording; substantially abridged.)

1976 (CD: Opera d'Oro BLV 107.237). Rusalka: Teresa Stratas; vodník: Willard White; princ: Ivo Žídek; ježibaba: Gwendolyn Killebrew; cizí kněžna: Gwendolyn Killebrew; 1. lesní žínka: Ans Philippo; 2. lesní žínka: Roberta Alexander; 3. lesní žínka: Marianne Dieleman; hajný: Nico Boer; kuchtík: Angela Bello; lovec: Fons van Zijl. Netherlands Broadcast Opera Chorus and Orchestra; conducted by Bohumil Gregor.

1977 (DVD: Bontonfilm D005641). Rusalka: Magda Vašáryová (sung by Gabriela Beňačková-Čápová); vodník: Přemysl Kočí (sung by Ondrej Malachovský); princ: Milan Kňažko (sung by Peter Dvorský); ježibaba: Jaroslava Adamová (sung by Libuše Márová); cizí kněžna: Božidara Turzonovová (sung by Milada Šubrtová); hajný: Josef Karlík (sung by Jaroslav Stříška); kuchtík: Dagmar Veškrnová (sung by Daniela Šounová). Bayerisches Rundfunkorchester; conducted by Libor Pešek; film direction by Petr Weigl. (Filmed outdoors. Substantially abridged; Czech subtitles only.)

*1982-1983 (CD: Supraphon SU 3718-2 633; Eurodisc 880 114-915). Rusalka: Gabriela Beňačková-Čápová; vodník: Richard Novák; princ: Wiesław Ochman; ježibaba: Věra Soukupová; cizí kněžna: Drahomíra Drobková; 1. lesní žínka: Jana Jonášová; 2. lesní žínka: Daniela Šounová-Brouková; 3. lesní žínka: Anna Barová; hajný: René Tuček; kuchtík: Jiřina Marková; lovec: René Tuček. Prague Philharmonic Choir; Czech Philharmonic Orchestra; conducted by Václav Neumann.

1986 (DVD: Kultur D0049; Arthaus 102019; Blu-ray: Arthaus 019150). Rusalka: Eilene Hannan; Water Spirit: Rodney Macann; Prince: John Treleaven; Ježibaba: Ann Howard; Foreign Princess: Phyllis Cannan. English National Opera; conducted by Mark Elder; stage direction by David Pountney. (Regietheater staging. Sung in English.)

1987 (CD: Orfeo C 638 042 I). Rusalka: Gabriela Beňačková-Čápová; vodník: Jevgenij Nesterenko; princ: Peter Dvorský; ježibaba: Eva Randová; cizí kněžna: Eva Randová; 1. lesní žínka: Margaretha Hintermeier; 2. lesní žínka: Noriko Sasaki; 3. lesní žínka: Gabriele Sima; lovec: Alexander Malý. Orchester und Chor der Wiener Staatsoper; conducted by Václav Neumann. (Substantially abridged.)

1997 (CD: Koch 920473-4; Brilliant Classics 93968). Rusalka: Ursula Füri-Bernhard; vodník: Marcello Rosca; princ: Walter Coppola; ježibaba: Nelly Boschkowa; cizí kněžna: Tiziana Sojat; 1. lesní žínka: Tamara Felbinger; 2. lesní žínka: Vesna Odoran; 3. lesní žínka: Martina Gojceta; hajný: Zeljco Grofelnik; kuchtík: Martina Zadro; lovec: Vitomir Marof. Academic Choir "Ivan Goran Kovačić"; Zagreb Philharmonic Orchestra; conducted by Alexander Rahbari.

*1998 (CD: Decca 460 568-2). Rusalka: Renée Fleming; vodník: Franz Hawlata; princ: Ben Heppner; ježibaba: Dolora Zajick; cizí kněžna: Eva Urbanová; 1. lesní žínka: Lívia Ághová; 2. lesní žínka: Dana Burešová; 3. lesní žínka: Hana Minutillo; hajný: Ivan Kusnjer; kuchtík: Zdena Kloubová; lovec: Ivan Kusnjer. Kühn Mixed Choir; Czech Philharmonic Orchestra; conducted by Charles Mackerras.

1998 (DVD [listed in Worldcat]: Česka Televize). Rusalka: Eva Jenisová; princ: Vladimír Hriško; vodnik: Peter Mikuláš; ježibaba: Marta Beňačková; cizí kněžna: Anda-Louise Bogza. Prague National Theatre Chorus and Orchestra; conducted by Jiří Bělohlávek; stage direction by Alena Vaňáková. (Historically informed staging. Presumably no English subtitles!)

2002 (DVD: TDK OPRUS; Arthaus 107031). Rusalka: Renée Fleming; vodník: Franz Hawlata; princ: Sergej Larin; ježibaba: Larissa Diadkova; cizí kněžna: Eva Urbanová. Opéra National de Paris; conducted by James Conlon; stage direction by Robert Carsen. (Regietheater staging.)

2007 (CD: Chandos CHAN 10449(3)). Rusalka: Cheryl Barker; vodník: Bruce Martin; princ: Rosario La Spina; ježibaba: Anne-Marie Owens; cizí kněžna: Elizabeth Whitehouse; 1. lesní žínka: Sarah Crane; 2. lesní žínka: Taryn Fiebig; 3. lesní žínka: Dominica Matthews; hajný: Barry Ryan; kuchtík: Sian Pendry; lovec: Barry Ryan. Australian Opera Chorus; Australian Opera and Ballet Orchestra; conducted by Richard Hickox.

2009 (CD: Glyndebourne GFOCD 007-09). Rusalka: Ana María Martínez; vodník: Mischa Schelomianski; princ: Brandon Jovanovich; ježibaba: Larissa Diadkova; cizí kněžna: Tatiana Pavlovskaya; 1. lesní žínka: Natasha Jouhl; 2. lesní žínka: Barbara Senator; 3. lesní žínka: Élodie Méchain; hajný: Alasdair Elliott; kuchtík: Diana Axentii; lovec: John Mackenzie. Glyndebourne Chorus; London Philharmonic Orchestra; conducted by Jiří Bělohlávek.

2010 (DVD: C Major 706408; Blu-ray: C Major 706504; C Major 750904). Rusalka: Kristine Opolais; vodník: Günther Groissböck; princ: Klaus Vogt; ježibaba: Janina Baechle; cizí kněžna: Nadia Krasteva. Bayerische Staatsoper; conducted by Tomáš Hanus; stage direction by Martin Kušej. (Regietheater staging.)

2011 (CD: Orfeo C 792113 D). Rusalka: Camilla Nylund; vodník: Alan Held; princ: Piotr Beczala; ježibaba: Birgit Remmert; cizí kněžna: Emily Magee; 1. lesní žínka: Anna Prohaska; 2. lesní žínka: Stephanie Atanasov; 3. lesní žínka: Hannah Esther Minutillo; hajný: Adam Plachetka; kuchtík: Eva Liebau; lovec: Daniel Schmutzhard. Chor der Wiener Staatsoper; Cleveland Orchestra; conducted by Franz Welser-Möst.

2011 (DVD: EuroArts 2059928; Blu-ray: EuroArts 2059924). Rusalka: Myrtò Papatanasiu; vodník: Willard White; princ: Pavel Černoch; ježibaba: Renée Morloc; cizí kněžna: Annalena Persson. La Monnaie Chorus and Symphony Orchestra; conducted by Ádám Fischer; stage direction by Stefan Herheim. (Regietheater staging.)

2014 (DVD: Decca 0743873; Blu-ray: Decca 0743874). Rusalka: Renée Fleming; vodník: John Relyea; princ: Piotr Beczala; ježibaba: Dolora Zajick; hajný: Vladimír Chmelo; kněžna: Emily Magee. Metropolitan Opera Chorus and Orchestra; conducted by Yannick Nézet-Séguin; stage direction by Otto Schenk. (Historically informed staging.)

*Armida (1903)*

*1956 (CD: Multisonic 31 0246-603). Hidraot: Ladislav Mráz; Armida: Milada Šubrtová; Ismen: Zdeněk Otava; Bohumír z Bouillonu: Jan Soumar; poustevník: Karel Berman; Rinald: Ivo Žídek; Ismen: Ladislav Mráz; Gernand: Jaroslav Horáček; Dudo: Antonín Votava; Ubald: Jiří Joran; Roger: Bohumír Vích; Sven: Antonín Zlesák; hlasatel: Jindřich Jindrák; muezin: Jiří Bar; siréna: Stanislava Součková. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by Václav Jiráček.

*1995 (CD: Orfeo C 404 962 H). Hidraot: Pavel Daniluk; Armida: Joanna Borowska; Ismen: George Fortune; Bohumír z Bouillonu: Vratislav Kříž; poustevník: Miloslav Podskalský; Rinald: Wiesłav Ochman; Gernand: Milan Bürger; Dudo: Richard Sporka; Ubald: Zdeněk Harvánek; Roger: Vladimír Nacházel; Sven: Jan Markvart; muezin: Roman Janál; siréna: Monika Brychtová. Prager Kammerchor; Czech Philharmonic Orchestra; conducted by Gerd Albrecht.


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## Hermastersvoice (Oct 15, 2018)

Impressive work, gvn. The only typo seems to be Albrecht’s orchestra for Dimitrij. He made many fine recordings of Dvorak operas and oratorios with the WDR orchestra but the Czech Philharmonic (no lees) lent its services to Dimitrij - and to Armida, making these two the finest of the Albrecht recordings. Any reason why Dvorak operas are so overlooked?


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## gvn (Dec 14, 2019)

Hermastersvoice said:


> The only typo seems to be Albrecht's orchestra for Dimitrij. He made many fine recordings of Dvorak operas and oratorios with the WDR orchestra but the Czech Philharmonic (no lees) lent its services to Dimitrij - and to Armida, making these two the finest of the Albrecht recordings.


Thank you for your eagle eyes!



Hermastersvoice said:


> Any reason why Dvorak operas are so overlooked?


I think it's very hard--almost impossible--for any opera in an east European language to enter the international repertory. It's fearsomely difficult to memorize text in a language that one doesn't understand at all; few opera companies would even care to make the attempt.

As far as I can see, the only exceptions have occurred in cases where a certain opera was promoted so intensively by a small band of influential individuals that the world was eventually persuaded to surmount the obstacle. That happened to Boris Godunov & Prince Igor in the days of Chaliapin & Diaghilev, and to some of the Janaček operas half a century later.

I wonder... might the same process be happening to the Dvořák operas at present? Rusalka was never staged in the West at all when I was young; now it seems to be well on the way to becoming a standard work. (If my little local opera company listed Rusalka in the repertoire for their next season, nobody would raise an eyebrow.) And there are little signs that it might possibly draw some of the other late Dvořák operas in its wake (just as Boris drew Prince Igor into the repertoire, and the early Janaček operas drew the later ones). I wonder...

Afterthought: the very existence of this thread suggests that the Dvořák operas are no longer completely unknown in the English-speaking world! I don't think one would have seen such a discussion 50 years ago.


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## Hermastersvoice (Oct 15, 2018)

Its terribly sad how Supraphon are ignoring their very fine back catalogue of this music. Vogel, Chalabala, Krumbholc, Nedbal, Sejna, Klima, seem now forgotten. (Though, I hear rumors of the restoration of an old Libuse under Talich).


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## gvn (Dec 14, 2019)

Hermastersvoice said:


> I hear rumors of the restoration of an old Libuse under Talich.


How utterly amazing. I had no idea. And on investigation, it's something more than a rumor; it was actually released 3 days ago (see, e.g., https://www.prestomusic.com/classical/products/8776078--smetana-libuse). Only a single disc of "fragments of Act 3" from 1939, plus his "1940 recording of the Overture"--but still, to have anything operatic recorded by Talich… it feels almost like finding fragments of _Faust_ with the de Reszke brothers. And it does show that Supraphon isn't yet totally extinct.


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## gvn (Dec 14, 2019)

A very brief list of a few Dvořák opera audio & video recordings never yet released on CD or DVD (as far as I know). I've confined the list to recordings that (a) are fairly readily accessible and (b) preserve some performances of special interest. (Many others could also be cited!)

*Král a uhlíř (King and Carpenter)* 1960 (radio broadcast). Král Matyáš: Jindřich Jindrák; Matěj: Eduard Haken; Anna: Ivana Mixová; Jindřich: Milan Karpíšek; Liduška: Libuše Domanínská; Jeník: Oldřich Spisar; královský lovčí: Jiří Joran; lovec: Rudolf Vonásek. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by František Dyk.

Act I:




Act II:




Act III:





*Šelma sedlák (The Cunning Peasant)* 1961 (radio broadcast). Kníže: Jindřich Jindrák; kněžna: Alena Miková; Martin: Karel Berman; Bětuška: Miloslava Fidlerová; Václav: Bohumír Vích; Veruna: Věra Krilová; Jeník: Jaroslav Kachel; Berta: Helena Tattermuschová; Jean: Antonín Votava. Prague Radio Chorus and Symphony Orchestra; conducted by Josef Hrnčíř.






*Dimitrij* 1981 (telecast). Marina: Eva Zikmundová (sung by Eva Randová); Xenie: Marta Cihelníková (sung by Gabriela Beňačková); Marfa: Libuše Márová (sung by Ludmila Dvořáková); Dimitrij: Viktor Kočí (sung by Vilém Přibyl); Šujskij: Václav Zítek; Basmanov: Antonín Švorc; Patriarcha: Jaroslav Horáček; Něborský: Oldřich Spisar; Bučinský: Jindřich Jindrák. Prague Radio Chorus; Prague Radio Symphony Orchestra; conducted by Jan Štych; film direction by Milan Macků.






*Jakobín *1974 (telecast). Hrabě Vilém: Eduard Haken; Bohuš: Jindřich Jindrák; Adolf: Rudolf Jedlička (sung by René Tuček); Julie: Marcela Machotková; Filip: Karel Berman; Jiří: Miroslav Švejda; Benda: Beno Blachut; Terinka: Daniela Šounová; Lorinka: Růžena Radová. Prague National Theatre Chorus and Orchestra; conducted by Bohumír Liška; film direction by Karel Jernek.





 (with amateur English subtitles)

*Čert a Káča (The Devil and Kate)* 1998 (telecast). Jirka: Milan Vlček; Káča: Jitka Zerhauová; její máma: Anna Barová; kněžná: Natálie Achaladze-Romanová; Marbuel: Jan Hladík; Lucifer: Richard Novák; čert vrátný: Aleš Šťáva; čert strážce: David Szendiuch; komorná: Naďa Blahová; maršálek: Jiří Klecker; muzikant: Petr Levíček. Brno Janaček Opera Orchestra; conducted by Jaroslav Kyzlink; stage direction by Jaromír Brych.






The telecasts show how effectively these things work on stage in actual performance.


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## Gallus (Feb 8, 2018)

Watched this Rusalka last night, honestly one of the best operas I've ever seen. I agree that Dvorak should be remembered as a composer for opera (almost) on the level of a Mozart. Need to explore his works in the form more!


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## MAS (Apr 15, 2015)

Wow! That was much more than I needed to know. That said, I heard his *Stabat Mater* with the San Francisco Symphony in the late '70s, with Leona Mitchell and Vinson Cole, Maureen Firrester, Robert Lloyd; beautiful music, gorgeous voices.


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## JustinTaylor (Jul 6, 2014)

Rusalka is in my top 10 favorite operas. This is my current collection but there's a few more recordings of this opera I need to grab.


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