Wenzel Mueller Das Neue Sonntagskind Krumlov Baroque Theater 2018

Viennese opera (Singspiel) from the late 18th century "Das Neue Sonntagskind"
by famous opera composer of the Beethoven era Wenzel Müller (1759 - 1835)
A live performance with German arias and Czech dialogues from Baroque Theater of the Český Krumlov Castle.
Herr von Hasenkopf. Ivo Hrachovec
Henriette, dessen Tochter. Marie Fajtová
Madame Klara, Hasenkopfs Schwester. Lucie Hilscherová
Valer, Hauptmann, Klarens Stiefsohn'. Martin Javorský
Hr. v. Heinzenfeld. Václav Lemberk
Lisette, Henriettens Mädchen. Eva Kývalová
Johann, Valers Diener, Fourierschütz. Tomáš Votava
M. Jacques, Friseur. Daniel Kfelíř
Hausmeister Rostislav Florian
Caprella Regia Praha
Robert Hugo - Conductor
Magdalena Švecová - Stage director
Performed at The Baroque Night Český Krumlov 2018
Festival director - Hana Pelzová
Program advisor - Martin Voříšek
Wenzel Müller was born in the town of Trnávka (then "Markt Türnau") near Moravská Třebová in 1759. He received his musical education as well as generations of musicians from the Czech lands: the family went through during his childhood (specifically in Trnávka, in the Old Town and in Chornice) and then as a child-singer of the monastery in Rajhrad near Brno. His first long-term engagement was as a violinist (and later as a bandleader) in the Brno City Theater between 1782-86, for which he wrote his first German-language „Singspiel“. After the fire of this stage, he went to Vienna, where he got a job as a composer and bandleader at the Theater in der Leopoldstadt. It was the oldest of the three suburban Viennese theaters, which was established during the 1780s behind the walls of the center. Compared to Viennese court theaters, these scenes were aimed at lower-class audiences without being reluctant to be visited by nobles. The repertoire consisted mainly of Viennese folk theater pieces, ie farces, singspieles, melodramas, pantomimes and parodies. None of these forms went without music, and Müller soon became one of the most successful authors of German singspiels. Thanks to this response, he was also approached with an offer to create and lead a German-language opera ensemble after the end of the Italian opera stage at the Estates Theater in Prague. Müller therefore moved to Prague in 1807, but his attempts to present a more dramaturgically demanding contemporary repertoire met the demand of the audience and the interpretive possibilities of the ensemble. Gradually, he began to include his older Viennese operas, which were warmly welcomed by the audience, but did not correspond to the higher ambitions of the theater management. In 1813 he went back to "his" Viennese theater in Leopoldstadt (he was replaced in Prague by Carl Maria Weber), for whom he wrote for almost the rest of his life (he died in 1835). Thus, although Müller also intervened in other areas of composition, for example in the field of sacred or symphonic music, he remained primarily a theatrical author. His work in this area includes about 250 compositions, which in the environment of the Viennese folk theater ranked him not only among the most popular authors, but to a large extent also normative.
„Das Neusonntagskind“ (also Das neue Sonntagskind) was first performed on October 10, 1793 and belongs to a series of singspiels from the first half of the 1790s, which became probably the most famous of Müller's stage works. This imaginary series begins in 1790 with the comic opera „Das Sonnenfest der Braminen“, and was followed by „Kaspar der Fagottist, oder die Zaubezither“. „Die Schwestern von Prag“ (1794) and „Caro, oder Megärens zweiter Teil“ (1795) follow the response to the Neusonntagskind.. All these works arose from Müller's collaboration with the librettist Joachim Perinet, who in the case of Neusonntagskind was based on the theme of Phillip Hafner's comedy „Der Furchtsame“. As with many other Perinet librettos, the time-clear patterns derived from the „Comedia dell´arte“ are reflected here, both in the case of the basic plot (the love of a young couple and their personal servants must overcome mistrust and intrigues of parents), as well as in the case of characters: the superstitious Mr. von Hasenkopf bears the clear character traits of „Pantalon“, the maid Lisette embodies the eloquent and witty „Colombin“, the barber Jacques of the intriguing „Brighell“, the refined Mr. von Heinzenfeld negative figures of the boastful „Captain“ or „Dottore“.
(Text by Martin Voříšek)

[@MikolaStudio]

Wikipedia says 1767 to born year of Müller.

[@capellaregia3626]

Yes, it is Wikipedia... Müller was born on 26.9.1759 and died 3.8.1835.... Thaknks

[@waterkant999]

who believes in wikipedia ?

[@helmutgehrmann464]

Wenigsten die Arien in Deutsch, einer Sprache die in Krumau bis 1945 fast ausschliesslich gesprochen wurde und heute de facto unterdrückt wird.

[@thomasalbrecht5914]

Ich war dieses Jahr in Česky Krumlov und erhielt dort ohne Umstände eine sehr liebevolle Führung auf Deutsch durch das Theater von einer Person, deren Muttersprache Tschechisch war und die sich viel Mühe gab, Deutsch zu sprechen - im Gegensatz zu zahlreichen Touristen aus Deutschland und Österreich, die sich oft nicht einmal die Mühe geben, einfachste Höflichkeitsformeln auf Tschechisch zu lernen, um mit der heute ausschließlich tschechischen Bevölkerung zu sprechen. Auch ist es ohne weiteres möglich, auf den Gebäuden die eine oder andere historische deutsche Aufschrift zu finden. Von einer Unterdrückung der deutschen Sprache kann also keine Rede sein, zumal es keine deutschen Muttersprachler mehr dort gibt.
Dass es dazu kam, ist wiederum unlöslich verbunden mit der Art und Weise, wie die Deutschsprachigen und das Deutsche Reich sich den Tschechen gegenüber zwischen 1933 und 1945 benommen haben, während gleichzeitig die erste Tschechische Republik politisch verfolgten Deutschen Zuflucht gab.
Wenn man aber aus dieser traurigen Geschichte irgendetwas lernen will, dann wohl nur, dass man dem jeweils Anderen mit Respekt und aufrichtig begegnen sollte, und dazu gehört, derartige ungerechte und unwahre Kommentare zu unterlassen.