Nedokončené operní náčrty a neuskutečněné operní plány Pavla Haase
| Title in English | Unfinished opera sketches and unrealised opera plans by Pavel Haas |
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| Authors | |
| Year of publication | 2018 |
| Type | Article in Periodical |
| Magazine / Source | Opus musicum |
| MU Faculty or unit | |
| Citation | |
| web | https://www.opusmusicum.cz/content/opus-musicum-62018 |
| Keywords | opera; Pavel Haas; Leoš Janáček; Divoška; Vítězslav Nezval; Stanislav Lom; Kající Venuše; Habima; The Dybbuk; Salomon Ansky |
| Attached files | |
| Description | Theatre and opera attracted Pavel Haas since his childhood. The only finished Haas’ opera Šarlatán, composed in 1934–1937, was preceded by many unsuccessful operatic attempts. An unfinished attempt Der Harfner (1913–1914), setting a German text, survived from the time of Haas’ youth when the composer had not yet undergone any regular compositional training. Pavel Haas got familiar with the operatic genre only in the masterclass with Leoš Janáček in 1920–1921. A setting of Viktor Krylov’s comedy Divoška (The Tomboy) dates back to the time. It was a homework for the students of compositions through which Leoš Janáček tried to teach them several aspects of setting to music a drama prosaic text. In the 1920’s Pavel Haas was subsequently captured by several dramatic subject-matters, however their opera settings were prevented by unsuccessful negotiations with their authors: sometime after 1921 it was Karel Čapek’s comedy Loupežník (A Robber), in 1927 Stanislav Lom’s play Kající Venuše (A Penitent Venus) with a biblical theme and probably in 1928 the Jewish drama Dybbuk by Salomon Ansky. In 1932, Haas asked Vítězslav Nezval for an opera libretto, but was rejected by the writer. |
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