However, it is always splendid. Mesicku, postuj chvili reckni mi, kde je muj mily Rekni mu, stribmy mesicku, me ze jej objima rame, aby si alespon chvilicku vzpomenul ve sneni na mne. Zasvet mu do daleka, rekni mu, rekni m kdo tu nan ceka!
Mesicku, nezhasni, nezhasni! Moon, stand still a while and tell me where is my dear. Tell him, silvery moon, that I am embracing him. For at least momentarily let him recall of dreaming of me. Illuminate him far away, and tell him, tell him who is waiting for him! If his human soul is, in fact, dreaming of me, may the memory awaken him! Translation by ThoughtCo. He continued to play at the Provisional Theatre until It was the ninth opera he composed in his lifetime.
If you have not already subscribed to get TresBohemes. For most of the 20th century it was thought that Kvapil did not write the Rusalka libretto for a specific composer. Subert, he offered it to Dvorak. The libretto was inspired by various literary works. Yet Kvapil repeatedly placed his libretto more in the context of Czech literary production which looked to the Erbenesque tradition.
In at least two previous works Kvapil was eager to cultivate the theme of two incompatible worlds, at whose boundary stands a heroine who is unable to find her place in either of them. The incongruity of two diverse worlds is a theme which Kvapil subsequently developed in Rusalka in a more striking way: the human world versus the world of supernatural beings.
This sense of dispossession, rootlessness and existential uncertainty is characteristic for the fin-de-siecle period, which provided a more fertile ground for Kvapil than traditional Romantic sources. The presence of these psychological or even socio-psychological aspects nevertheless distanced his text somewhat from the oft-cited Czech character of the libretto; rather than the world of fairy tales portrayed by popular Czech author Bozena Nemcova, Kvapil felt that his Rusalka had a greater affinity with the stories of Oscar Wilde.
The most distinctive quality of the libretto is its poetic beauty. Using a wealth of linguistic devices, Kvapil avoided all trace of superficiality and, using subtle nuances, he imbued each scene with its own expression and mood.
The text is filled with lyricism, which would undoubtedly have inspired Dvorak in his composition of the opera. In addition to the intricate work with leitmotifs see below , this phenomenon is manifested particularly in the way Dvorak treats the orchestral score. Dvorak in principal uses a traditional orchestra but, through a resourceful combination of instruments or their sections, he creates colourful musical effects which evoke the gentle lapping of waves on the surface of the water, the mysterious sounds of the night forest, and even the reflection of the silver moonlight above the lake.
An important aspect of the musical setting of Rusalka is its emphasis on the role of nature. The natural surroundings in Rusalka are beautiful, mysterious, sinister, terrifying and, above all, powerful in their splendour. The time-honoured laws of nature and of God , which Rusalka betrays, cannot be defied. Punishment — as in Erben — is inevitable.
This idea acquires a concrete form in the lengthy orchestral interludes which often illustrate nature at specific times of day or night the orchestral intermezzo before the arrival of the Prince in Act One, the intermezzo before the start of the polonaise in Act Two etc. What was important for setting the overall tone of the work was the typically Dvorakian sense of catharsis.
This is not accidental. And this is not the first time Dvorak has chosen to do this: apart from the above-mentioned symphonic poem The Wild Dove, we will encounter a similar resolution in his Stabat mater and Cello Concerto in B minor. In all these examples, the fundamental mood of the work serious, meditative or even tragic is ultimately transformed into one of hope and reconciliation.
Dvorak again takes the literary source a step further in another respect: if the text itself essentially lacked a dramatic nerve, the composer used his music successfully to offset what might have been detrimental to the stage impact. An example of this is a scene from Act Two, in which Rusalka, greatly disillusioned, seeks refuge with the Water Sprite.
Dvorak, however, on the basis of this text, showed great resourcefulness in his use of musical devices, creating one of the most dramatic and compelling scenes in the entire opera. Dvorak achieves compactness, among others, via his use of leitmotifs. Although he was a great admirer of Wagner, he managed to avoid the negative phenomenon typical of certain works by the Bayreuth master, namely an overabundance of leitmotifs in a single opera.
While Wagner might have used several dozen leitmotifs with a series of variants in the thematic fibre of his score — a cognitive challenge for the ordinary spectator by any standards — Dvorak contented himself with far fewer motifs, which he elaborated with astonishing invention. They are always associated with a specific idea, character or environment. The general view that the leitmotif associated with the main character ought logically to be the main motif of the opera as well, does not apply in the case of Rusalka.
Trends such as this naturally do not arise merely as a result of changes in lexicon usage within a narrow circle of specialists but also, and much more visibly, through the various interpretations of individual productions. The main motif of the opera appears in countless variants during the course of the opera via a variety of rhythmical, melodic, harmonic and instrumental transformations.
A little known fact, Dvorak borrowed this motif from an earlier work he wrote thirty-five years previously, namely his Symphony No. The lead roles were assigned to the fine soprano Ruzena Maturova and one of the greatest tenors of his day, Karel Burian.
Nevertheless, the premiere was almost cancelled because of Burian. Not only did he acquit himself honourably, but his performance was ultimately one of the factors which contributed to the success of the premiere.
My new opera is once more a fairy tale, with words by Jarosl. I am filled with enthusiasm and joy that my work is going so well. I have a little question to ask. In Act Two, when Rusalka leaves, ceremonial dance music begins. Is this to be an ordinary ballet, or should the chorus simply look as if they were dancing? I would not wish the ballet chorus to dance at the same time. I will certainly have a polonaise at this point, and the chorus, and then the guests at the castle, can suggest this, and perhaps this will suffice.
It is such a shame that I am not in Prague, it would indeed have been good if I had been able to consult with you immediately on various matters! So I beseech you to answer my questions directly, by return of post, and let me know if you consent to my proposals. My work is a delight and joy and, as far as the conception is concerned, I already have the entire second act in my head. I also have all the instrumentation completed up to this scene in Act Two.
With cordial greetings, your sincere friend and admirer, Antonin Dvorak. My idea is that, at this point, both would be singing together.
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