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František Škroup Karel Strakatý Antonín Dvořák Estates Theatre 1834 1882 1918 1993
"Where is My Home?" - Kde domov můj Czech Original / English (Poetic) Translation Support Us: (http•••) - Thank You! / Kde domov můj is the national anthem of the Czech Republic, written by the composer František Škroup and the playwright Josef Kajetán Tyl. It was first performed by Karel Strakatý at the Estates Theatre in Prague on December 21, 1834. Soon after Czechoslovakia was formed in 1918, the first verse of the song became the Czech part of the national anthem, followed by the first verse of the Slovak song Nad Tatrou sa blýska. With the split of Czechoslovakia in 1993, the Czechoslovak anthem was divided as well. While Slovakia extended its anthem by adding a second verse, the Czech Republic's national anthem was adopted unextended, in its single-verse version. In 1882, Antonín Dvořák used Kde domov můj? in his incidental music to the František Ferdinand Šamberk play Josef Kajetán Tyl. The overture is often played separately as a concert work entitled Domov můj (My Home). / Subscribe!
Lenka Pavlovič Svatopluk Sem Estates Theatre 2018
W. A. Mozart - DON GIOVANNI Zerlina - Lenka Pavlovič Don Giovanni - Svatopluk Sem Stavovské divadlo, Praha | The Estates Theatre in Prague 23.08.2018
Carella Wolfgang Amadeus Mozart Köchel Asburgo Lorena Domenico Guardasoni Lorenzo Ponte 1791
Mozart: Overture - 'La Clemenza di Tito', 6 settembre 1791 Arranged by Domenico Carella La clemenza di Tito (K 621) è un'opera seria in due atti di Wolfgang Amadeus Mozart - uno degli ultimi lavori teatrali del genio salisburghese[1] - musicata su libretto di Caterino Mazzolà, a sua volta basato sul melodramma omonimo di Pietro Metastasio. La prima rappresentazione si tenne al Teatro degli Stati di Praga il 6 settembre 1791 in occasione dei festeggiamenti per l'incoronazione di Leopoldo II a re di Boemia. L'opera reca il numero 621 del Catalogo Köchel. L'opera fu scritta come parte dei festeggiamenti organizzati dagli Stati Boemi nel 1791 per l'incoronazione di Leopoldo II d'Asburgo-Lorena a re di Boemia. La scelta del libretto fu dell'impresario del Teatro degli Stati di Praga, Domenico Guardasoni, che si recò a Vienna per contattare il poeta di corte. L'avvicendamento al trono di Leopoldo II, succeduto al fratello Giuseppe II, non aveva risparmiato il mondo musicale viennese: il poeta Lorenzo da Ponte, autore della memorabile "trilogia" mozartiana (Le nozze di Figaro, Don Giovanni e Così fan tutte), era stato licenziato nella primavera del 1791. Poeta di corte al suo posto era diventato provvisoriamente Caterino Mazzolà, più tardi sostituito da Giovanni Bertati. ... Wikipedia.
Wolfgang Amadeus Mozart Domenico Guardasoni Burden Antonio Caldara Gluck Josef Mysliveček Antonio Salieri Secco Franz Xaver Süssmayr Rossini Estates Theatre Opera Vienna 1698 1734 1752 1774 1782 1789 1791
La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at the Estates Theatre in Prague. Background In 1791, the last year of his life, Mozart was already well advanced in writing Die Zauberflöte by July when he was asked to compose an opera seria. The commission came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution. The ceremony was to take place on 6 September; Guardasoni had been approached about the opera in June. No opera of Mozart was more clearly pressed into the service of a political agenda than La clemenza di Tito, in this case to promote the reactionary political and social policies of an aristocratic elite. No evidence exists to evaluate Mozart's attitude toward this, or even whether he was aware of the internal political conflicts raging in the kingdom of Bohemia in 1791. In a contract dated 8 July, Guardasoni promised that he would engage a castrato "of leading quality" (this seems to have mattered more than who wrote the opera); that he would "have the libretto caused to be written...and to be set to music by a distinguished maestro". The time was tight and Guardasoni had a get-out clause: if he failed to secure a new text, he would resort to La clemenza di Tito, a libretto written more than half a century earlier by Pietro Metastasio (1698–1782). Metastasio's libretto had already been set by nearly 40 composers; the story is based on the life of Roman Emperor Titus, from some brief hints in The Lives of the Caesars by the Roman writer Suetonius, and was elaborated by Metastasio in 1734 for the Italian composer Antonio Caldara. Among later settings were Gluck's in 1752 and Josef Mysliveček's version in 1774; there would be three further settings after 1791. Mozart was not Guardasoni's first choice. Instead, he approached Antonio Salieri, the most distinguished composer of Italian opera in Vienna and head of the music establishment at the imperial court. But Salieri was too busy, and he declined the commission, although he did attend the coronation. The libretto was edited into a more useful state by the court poet Caterino Mazzolà. Unusually, in Mozart's personal catalogue of compositions, Mazzolà is credited for his revision with the note that the libretto had been "reworked into a true opera". Mazzolà conflated the original three act libretto into two acts, and none of the original Metastasio arias are from the original middle act. Mazzolà replaced a lot of the dialogue with ensembles and wrote a new act 1 finale, cobbled from lines in the original libretto, which actually presents the uprising, whereas Metastasio merely describes it. Guardasoni's experience of Mozart's work on Don Giovanni convinced him that the younger composer was more than capable of working on the tightest deadline. Mozart readily accepted the commission given his fee would be twice the price of a similar opera commissioned in Vienna. Mozart's earliest biographer Niemetschek alleged that the opera was completed in just 18 days, and in such haste that the secco recitatives were supplied by another composer, probably Franz Xaver Süssmayr, believed to have been Mozart's pupil. Although no other documentation exists to confirm Süssmayr's participation, none of the secco recitatives are in Mozart's autograph, and it is known that Süssmayr traveled with Mozart to Prague a week before the premiere to help with rehearsals, proofreading, and copying. Mozart scholars have suggested in the past that Mozart had been working on the opera much longer, perhaps since 1789, however all such theories have now been thoroughly refuted in the English-language musicological literature. The opera may not have been written in just 18 days, but it certainly ranks with Rossini's L'italiana in Algeri, Il barbiere di Siviglia and La Cenerentola as one of the operas written in the shortest amount of time that is still frequently performed today.
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