Libretto Josef Wenzig, Ervín Špindler
King of Bohemia (baritone) – Václav Zítek, Dalibor, knight (tenor) – Vilém Přibyl, Budivoj, commander of the castle guard (baritone) – Bohuslav Maršík, Beneš, jailor (bass) – Jaroslav Horáček, Vítek, mercenary of Dalibor (tenor) – Miloš Ježil, Milada, sister of the burgrave of Ploskovice (soprano) – Eva Děpoltová, Jitka, village-maiden on the Dalibor’s estate (soprano) – Naďa Šormová, One of the judges (bass) – Karel Hanuš , Judges, mercenaries and the people
Brno State Opera Chorus, Chorus Master Josef Pančík
Brno State Philharmonic Orchestra, Conductor Václav Smetáček
Bedřich Smetana’s opera Dalibor resembles a heroic canvas with miniature paintings of emotional turmoil in men’s hearts. The story which drew on the historical reports from 1497-1498 enabled the librettist Josef Wenzig to develop potent situations, some of which had already proven effective. Nevertheless, the composer chose another approach. The musical interpretation of the story, the characters and mainly their inner life was so autonomous and convincing that it made his final work timeless. He transformed the medieval subject matter of love at first sight into a hymn about defiance and freedom. He equipped the opera with well-arranged leitmotifs and made his characters musically vivid far beyond what the text had offered. The rebellious haughtiness of the main hero was softened by emotional fervour whereas the main heroine’s grievance was balanced by repentance. Moreover, the ruler who is supposed to punish crime reveals his sensible nature and the minor folk characters gain human dimension in the opera. Through the detailed composition and the ever-repeating omen of tragic end the work achieved its constant inner suspense. Arias, ariosa, duets, choirs as well as interludes are brought together in a vast scene which supports the arch of grand musical architecture, the shape of which is not similar to others. Smetana’s Dalibor is well ahead of time due to its musical and dramatic properties. In addition, the demands for recitation make it progressive as well. The challenging voice parts of the main characters ranging from lyrical fineness to the dramatic vintage performance along with the emphasis on the powerful interpretation did not have their counterpart in the Czech opera until the time of Dalibor’s premiere in 1868.
CD 1
Bedřich Smetana
Dalibor. Opera in 3 Acts
1. Act 1 “Today the judgement will be passed” 03:40
2. Act 1 “An orphan, abandonned” 04:10
3. Act 1 March 03:00
4. Act 1 “You know by now how our kingdom fair” 03:27
5. Act 1 “Step forward without fear” 03:12
6. Act 1 “The sun did set” 06:55
7. Act 1 “Ah, what a sight!” 01:29
8. Act 1 “I won’t deny, lies are not my province” 05:41
9. Act 1 “Committing crime thou hast thus helped thyself!” 02:56
10. Act 1 “Thus, Dalibor, reads judgement unanimous” 04:50
11. Act 1 “Here do you see me bending low” 03:25
12. Act 1 “What storm here in my bosom is raging” 03:28
13. Act 2 “Oh, yes, the gayest is this our world” (Scene 1) 03:47
14. Act 2 “By this gay song” 02:48
15. Act 2 “Of Dalibor’s fate didst thou surely hear?” 02:20
16. Act 2 “Oh, yes, the gayest is this our world” (Scene 2) 04:41
17. Act 2 Change of stage I “Here greatest vigilance is needed” 06:55
18. Act 2 “Oh, how saddening is a jailer’s life, how hard” 02:24
19. Act 2 “Everything is ready” 04:56
20. Act 2 “Oh, goodness!” 02:57
21. Act 2 “Here is the violin” 02:10
CD 2
Bedřich Smetana
Dalibor. Opera in 3 Acts
1. Act 2 Change of stage II Listesso tempo 05:16
2. Act 2 “It was he again?” 04:16
3. Act 2 “Accept, I beg, this trifle from my hand!” 03:23
4. Act 2 “Dalibor, I beg your pardon” 03:10
5. Act 2 “Oh, unspeakable charm of love!” 05:10
6. Act 3 “Glourious King!” 03:05
7. Act 3 “It will be near to forty years” 03:40
8. Act 3 “At this late hour” 05:03
9. Act 3 “Are you ready?” 05:22
10. Act 3 Change of stage I “It’s the third night” 03:13
11. Act 3 “Oh, heaven! He shook his chains!” 04:45
12. Act 3 “Let so it be!” 03:51
13. Act 3 Change of stage II. A la marcia 01:53
14. Act 3 “No trace as yet of our covened signal?” 05:20
15. Act 3 “Milada! – Where am I?” 03:21
16. Act 3 “Oh, behold this tender rosebud” 02:20
17. Act 3 “Enemy troops are beaten” 02:07
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