God, wisdom and ruralism, which are the protagonists of this unique reflection in reality

Years have passed In 1973 I was able to see it at the Teatro de la Zarzuela Thanks to the Friends of the Madrid Opera from the Compañía del Teatro Nacional and the Belgrade Opera for the translation into Serbo-Croatian.

Ha de ser welcome back to this teaching job in its original version for nothing less than these represented. It will be on the card from this Tuesday until April 30th.

Smetana’s hand for inspiration is true and now, in this comedy, where the usual characteristics of his music are cited: an orchestral orchestra, an example of the popular as a basis, in original and refreshing pentagrams, a magical and unexpected touch of a curious person, one can say, pre-impressionism. All oriented in this case and description of sensations on the skin flower de uns sacados personajes del pueblo.

The opera, which was presented in its first version in 1866 in two acts with spoken dialogues in the Provisional Theater in Prague, was presented in its definitive form in three acts in 1870.

Karel Sabina’s book, although adapted to local customs and traditions, and however conventional it may seem, we can say that It is the style of some comic operas or Italian comics previous years. As Piotr Kaminski states, “music brings truth and humanity into the narrative. It describes a universe in which one would like to live and in which nothing bad can happen”.

They appear at the coast of the opera house incalculable, attractive and recordable motifs. Entrance impression furious checo in the form of de ran away which enlivens the refreshing opening and which is often heard in concert. The first conversation between Mařenka and Jeník, in which the clarinet receives a lot of attention, reappears throughout the piece with its main reason as a symbol of the feelings that unite the two lovers.

Smetana’s hand is recorded in sand orchestration and the example of the people as a foundation, in pentagrams refreshing pre-impressionism

We left too the polca that covers the first meeting, or the chorus of borrachosWeberian tan. The amazing, similar duo that keeps Jeník and Kecal, straight comedy, will come up with a spectacular tightly.

The grand finale rarely resumes the theme of the overture. And entering the circus offers surprises in the form of inspired and motorized marching and dancing.

A new revengeclarify, it is not a folklore opera, but one An extraordinary snapshot of rural identitycalm and happy to praise God, dance and faith. The emergence of many popular rhythms –furious, jump and its interior – contributes to the dynamism and freshness of the interior. Like harmony, so much Schubertian sometimes.

You meet in the dark with the music director of Real, Gustavo Gimen, who has given you so much thought about his acquaintance and solutions in the management of musical structures of the East. We record our work Angel of fire de Prokofiev or Eugene Onegin by Tchaikovsky, which in all cases are works of a very distinct type.

If you count s a new production in which Opera Nacional de Lyon, Opera de Cologne and Moneda de Bruselas collaborate with Real.

The scene will be something—and this is good news—what Laurent Pelly, who directs the seventh production at the Coliseum in Madrid and this places the action in an imaginary world – set by Caroline Ginet – in which the characters evoke the animated discussions of the 50s and 60s, in amusing sync with the music, which explores the comedy and ingenuity of the work.

Abundant names of checos in the department. Svetlana Aksenová and Natalia Tanasii are fighting about Mařenka. Jeník will be in the girls of Pavel Černoch and Sean Pannikář. Why it is disputed between the solid ones and according to these andurrials you know Günther Groissböck and Martin Winkler.

Applause for your appearance so many spanish voices partly secondary: Manel Esteve, María Rey-Joly, Toni Marsol, Mikeldi Atxalandabaso, Moisés Marín, Rocío Pérez and Ihor Voievodin.