Jaroslav Kvapil

Scenes from the life of composer Zdeněk Fibich accompanied by excerpts from his work in a poetic documentary... The story of the Czech artist is embodied in a single day in the life of his collaborator and lover Anežka Schulzová (Iveta Rálková). Between waking up in the morning and falling asleep at night, she brings fragments of her beloved man's life experiences to life in her memories. It is a drama of emotions that draws her into its trap. Fibich left the safe haven of his family for her love, seeking inspiration in passion and eroticism. This clearly tense human situation is complicated by Anežka's rival and Fibich's wife Betty.

Antonin Dvorak’s next to last opera draws its substance from the underwater wonderland of little mermaids, Undines and Melusines: the water nymph Rusalka falls hopelessly in love with a prince and, although she is willing to sacrifice her voice to acquire the human form she needs in order to stay with him, the disparity between them proves to be too great. Jaroslav Kvapil’s libretto inspired Dvorak to compose a masterpiece, a compelling opera full of poignant lyricism and dramatic twists. Ádám Fisher and Stefan Herheim masterfully presented this ‘lyrical fairytale’ at La Monnaie in 2008. In this widely acclaimed interpretation, the fairytale elements sometimes assume frighteningly realistic dimensions so that one might see this enchanting production as a psychoanalytical study of male fantasies and female archetypes.

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Young Matula has succumbed to gambling and he steals money from his parents to finance his passion. His father catches him red-handed and throws him out of the house. Matula roams the world and meets Vávra, also a tramp, who accepts a job as a road-sweeper but he soon dies in a car accident. On his lone wanderings Matula finds a miraculous little key which opens all locks. With its help he acquires a great fortune. He breaks into a bank and steals more money. He then meets the daughter of the cashier who was wrongly accused under suspicion of theft and when he sees her despair, he realises his wrong-doings. Finally he wakes up - it had all been a dream. (According to the censor's certificate).

Young Matula has succumbed to gambling and he steals money from his parents to finance his passion. His father catches him red-handed and throws him out of the house. Matula roams the world and meets Vávra, also a tramp, who accepts a job as a road-sweeper but he soon dies in a car accident. On his lone wanderings Matula finds a miraculous little key which opens all locks. With its help he acquires a great fortune. He breaks into a bank and steals more money. He then meets the daughter of the cashier who was wrongly accused under suspicion of theft and when he sees her despair, he realises his wrong-doings. Finally he wakes up - it had all been a dream. (According to the censor's certificate).

Renée Fleming sings one of her signature roles, the title character in Dvořák’s sumptuously melodic Rusalka. The story of the opera, which is about a water spirit’s tragic romance with a human prince, is drawn from several folktale sources including Hans Christian Andersen’s “The Little Mermaid.” Star conductor Yannick Nézet-Séguin leads a cast that also includes Piotr Beczala as the handsome Prince whom Rusalka yearns to love; Dolora Zajick as the cackling swamp witch Ježibaba; Emily Magee as the Foreign Princess, Rusalka’s rival; and John Relyea as Rusalka’s father, the Water Sprite.

Rusalka, a water spirit, lives with her family in the pure waters of the forest lake. When she falls in love with a Prince, she sacrifices her voice and leaves her home in the hope of finding true love in a new world – a world that does not love her back.

The libretto of the most well known opera by Dvořak, which premiered in Prague in 1901, is inspired by the Czech version of the Central European folktale, one we also know as Undine (1811) by Friedrich de la Motte Fouqué or The Little Mermaid (1837) by Hans Christian Andersen.

Kristine Opolais “gives a vocally lustrous and achingly vulnerable performance” (New York Times) in the role that helped launch her international career, the mythical Rusalka, who sings the haunting “Song to the Moon.” Director Mary Zimmerman brings her wondrous theatrical imagination to Dvořák’s fairytale of love and longing, rejection and redemption, giving the work “an inspired staging” (Huffington Post). Brandon Jovanovich, Jamie Barton, Katarina Dalayman, and Eric Owens complete “a matchless cast” (New York Times), and Sir Mark Elder conducts “a magnificent rendering of the composer’s lush score (Huffington Post).

A legend of mermaids, mere mortals, and sylvan glades. Be transported to a mystical world of water sprites, witches, and wood nymphs. In exchange for love, Rusalka will relinquish not only her mermaid magic, but also her voice.

Dvořák's "Rusalka" in a production by David Pountney at the English National Opera in 1986. Mark Elder conducts the orchestra, accompanied by the English National Opera Chorus in English.