Name: The Lord in White or No Haunts Left for Ghosts
Start: 2022-10-08T00:00:00.000Z
End: 2023-02-08T00:00:00.000Z
Location: Antonín Dvořák Theatre

Organization

Singer

Martin Gurbaľ

Mr. Hollywood

David Nykl

Jana Horáková Levicová

Mrs. Hollywood

Jana Hrochová

Soňa Godarská

Elinor

Doubravka Součková

Anna Nitrová

Cedrik

Josef Moravec

George, count

Juraj Nociar

Jiří Hájek

The Ghost

Tadeáš Hoza

Václav Morys

Proutek, Member of Parliament

Vít Nosek

Marek Gurbal

Real estate broker

Martin Štolba

Dominika Škrabalová

Castellan

Marcela Gurbaľová

Andulka, lady's made

Václav Čížek

Bob, american servant

Aleš Burda

Mayor of Satalice

Petr Němec

Filip Kasztura

Member of Parliament

Tomáš Krpec

Vlastimil Nitschmann

Reporter

Petr Urbanek

Vít Habernal

Groom

Aleš Pirnos

Jiří Dvořák

Ping-pong ball

Stage director

Ondřej Havelka

Conductor

Jiří Habart

David Švec

Costume designer

Jana Zbořilová

Set designer

Martin Černý

Dramaturge

Juraj Bajús

Chorus master

Jurij Galatenko

Choreographer

Alžběta Vomáčková

Denisa Bílá

Daniel Matoušek

National Moravian-Silesian Theatre

Ivana Ambrúsová

čekų

The Lord in White or No Haunts Left for Ghosts

Ostrava

Czech Republic

Antonín Dvořák Theatre

The Gentleman in White, or it's tough scaring ghosts today Křička

Public

Private

The Gentleman in White, or it's tough scaring ghosts today

anglų

Approved

Libreto Jan Löwenbach-Budín (1880–1972) v novém zpracování Maxe Broda (1884–1968) na motivy povídky Oscara Wildea (1854–1900) Strašidlo cantervillské z roku ...

Jaroslav Křička Libretto Jan Löwenbach / Budín (1880–1972) based on the short story The Canterville Haunter by Oscar Wilde (1854–1900) Musical production by David Švec Directed by Ondřej Havelka “Sober life has few charms, as the machine runs, so does my day. Illusions beckon a restless heart. I want to look for a miracle, a secret, a dream!" Krička's opera demonstrates the great popularity of Oscar Wilde's short story The Canterville Haunter. Wilde contrasted the lifestyle of modern Americans with the departing customs of the "happy English home", as represented by the ancient castle that the American ambassador buys, complete with an ancient haunting. In the opera, the setting changed (Czechoslovakia after the First World War), the authors also added a current topic: the practice of land offices. The love affair between Jiří, the Count of the castle in Satalice, and Elida, the daughter of the American ambassador, was also included in the plot. Křička used the period's popular procedures of the so-called operas of the time (dance forms of entertainment music of the 20s, jazz, revue style, film projection), but the resulting form was more reminiscent of an operetta, in which folk songs and waltz rhythms played an equally important role. The premiere of the opera took place on November 27, 1929 in Brno under the direction of conductor Antonín Balatka. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel. film projection), but the resulting form was more reminiscent of an operetta, in which folk songs and waltz rhythms played an equally important role. The premiere of the opera took place on November 27, 1929 in Brno under the direction of conductor Antonín Balatka. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel. film projection), but the resulting form was more reminiscent of an operetta, in which folk songs and waltz rhythms played an equally important role. The premiere of the opera took place on November 27, 1929 in Brno under the direction of conductor Antonín Balatka. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel.

THE WHITE LORD or GHOSTS ARE DIFFICULT TO FEAR TODAY – Moravian-Silesian National Theater (preview video)

„Až najde se kráska,
plavovláska tak odvážná,
že půjde přízraku vstříc,
nebezpečím zhrdajíc, jež jí kyne,
pak do hradu vrátí se láska...“

Křičkova opera dokládá velkou popularitu povídky Strašidlo cantervillské Oscara Wildea. Wilde postavil proti sobě životní styl moderních Američanů a odcházející zvyky „šťastného anglického domova“, jak jej reprezentuje starobylý zámek, který americký vyslanec koupí i s odvěkým strašidlem. V opeře se změnilo prostředí (Československo po první světové válce), autoři také přidali tehdy aktuální téma: praxi pozemkových úřadů. V zápletce nechyběl ani milostný vztah mezi hrabětem zámku v Satalicích Jiřím a dcerou amerického vyslance Elinor. Křička využil dobově oblíbené postupy tzv. časových oper (taneční formy zábavné hudby 20. let, jazz, revuální styl, filmová projekce), ale výsledný tvar připomínal spíše operetu, ve které stejně důležité místo připadlo lidovým popěvkům a valčíkovým rytmům.
Premiéra opery se uskutečnila 27. listopadu 1929 v Brně za řízení dirigenta Antonína Balatky. V NDM ji uvádíme v přepracované verzi pro německá divadla; poprvé zazněla ve Vratislavi v listopadu 1931. Autorem textové úpravy byl Max Brod, pražský německý spisovatel, který se mj. zasloužil o mezinárodní propagaci díla Franze Kafky, Jaroslava Haška či Leoše Janáčka. Ostravské publikum se mohlo s touto operou seznámit hned následujícího roku v hudebním nastudování Jaroslava Vogela.

čeština

"When a beauty is found,
a blonde brave enough
to meet the
ghost, despising the danger that befalls her,
then love will return to the castle..."

Krička's opera demonstrates the great popularity  of  Oscar Wilde 's short story The Canterville Haunter . Wilde contrasted the lifestyle of modern Americans with the departing customs of the "happy English home", as represented by the ancient castle that the American ambassador buys, complete with an age-old haunting. In the opera, the setting changed (Czechoslovakia after the First World War), the authors also added a current topic: the practice of land offices. The love affair between Jiří, the count of the castle in Satalice, and Elinor, the daughter of the American ambassador, was also included in the plot. Křička used the period's popular procedures of the so-called period operas (dance forms of entertainment music of the 20s, jazz, revue style, film projection), but the resulting form was more reminiscent of an operetta, in which folk songs and waltz rhythms played an equally important role.
The premiere of the opera took place on November 27, 1929 in Brno under the direction of conductor Antonín Balatka. At NDM, we present it in a revised version for German theaters; it was first performed in Wroclaw in November 1931. The author of the text adaptation was Max Brod, a Prague-based German writer who, among other things, contributed to the international promotion of the works of Franz Kafka, Jaroslav Hašek and Leoš Janáček. The Ostrava audience was able to get to know this opera the very next year in a musical staging by Jaroslav Vogel.

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