The premiere of the Ur-version (1887) of Šárka took place on 26 November 2010 at the Reduta Studio Theatre Brno as part of the Janáček Biennale, conducted from the piano by Ondrej Olos, with Lucie Kašparová in the title role. This first version (of which 30% of the music is retained in the score generally performed today) was sent to Dvořák for comment, but rested in the Janáček archive until 2010; the final version, with fewer motives and longer set-pieces, presages his mature works.[1]
The composer had never completed the work, but, after the success of his later operas, Šárka was revised and the orchestration completed by his pupil Osvald Chlubna who had been given the task in preparation for the opera's eventual publication.
In 2000, Jiří Zahrádka edited a new edition of the score. A recording was made later that year based on this edition, with Sir Charles Mackerras conducting the Czech Philharmonic Orchestra and with Eva Urbanová in the title role; it was issued the following year (Supraphon SU 3485-2-631).
The premiere stage setting was designed by the architect and painter Vlastislav Hofman.[2]
Before the opera begins, during Libuše's reign, women experienced a golden age and the female population had become the privileged members of society, but after her death this was not the case, causing a revolt that produced a female army, of whom Šárka was the fiercest warrior.
As the opera opens, the morale of the male troops is flagging, yet is restored by the young Ctirad, who guards Libuše's tomb. The women enter the sepulchre, but are scared by the appearance of Ctirad, and swear vengeance. Šárka plans to trap the young male warrior, and the maidens tie her to a tree, apparently open and helpless. Ctirad finds her, takes pity and unties her, falling in love with Šárka, but she also falls in love with him. As they sleep in each other's arms, Šárka remembers her resolve and uses her horn to call for the maidens to come and kill Ctirad and his warriors. During the funeral for Ctirad, Šárka, grief-stricken, throws herself onto his pyre and dies in the flames, the chorus sings a lament for the lovers.
Other musical depictions of Šárka
Czech Bedřich Smetana composed the tone poem Šárka as the third part of his cycle "Má Vlast", which does not contain the final suicide narrated in the opera.
References
Notes
^Tyrell J., "Report from Brno", Opera, March 2011, pp. 304–6.
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