‘the bartered bride’: czech wit at garsington | thearticle

Smetana’s _The Bartered Bride, _from the later days of the Austro-Hungarian Empire, but written in the local vernacular of the Czech lands, is a romp. As in Mozart’s _Cosi fan tutte,_ we all

know that the outcome will be a happy one, and like the Italian pathos of _I pagliacci _it features a stage within the stage, where sadness and disappointment help drive the plot. Rather

than the Germanic influence of Austria, however, this opera has the flavour of folk music, and should be played with Czech wit and passion. First performed in 1866, and revised to its final

form in 1870 with dialogue turned into recitative, Smetana’s comedy was a deliberate riposte to those who considered its composer to be too Wagnerian and incapable of doing anything in a

lighter vein. And perhaps, too, the liberation of the main character, Mařenka, from an arranged marriage is a metaphor for the desired liberation of the Czech lands from Austrian domination,

which finally happened after the First World War. Her beloved Jeník, an outsider not beholden to the ridiculous Mayor, manages to turn the tables on everyone by selling his beloved Mařenka

to … himself. The Czech title _Prodaná nevěsta_ literally means “Sold bride”. She has been promised to a man named Vašek, but Jeník notices that the legal documents stipulate that the groom

must be the son of the wealthy landowner Tobiáš Mícha. He too fits that description though he had left home years earlier to get away from his jealous stepmother. By apparently agreeing to

give up Mařenka for money Jeník disgusts everyone, including her, but it all comes right in the end, and Mícha himself blesses the union. Mařenka herself is not above a little deception, and

has appeared to Vašek in disguise, telling him how the woman he hopes to marry is an impossible shrew, a minx not to be trusted. Vašek is then distracted by a visiting circus troupe and

enamoured of their star performer, Esmerelda. She and the Ringmaster easily persuade him to replace the man in the bear costume, who is now completely drunk (and in this inebriated state

roamed into the audience). The simple Vašek is taken out of his limited world and finds the courage to tell his parents that he refuses to marry Mařenka. Garsington’s merry production by

Paul Curran, revived from 2019, gives a wonderfully detailed portrait of a village community, and the singing performances were superb. Pumeza Matshikiza sang beautifully as a very feisty

Mařenka, showing excellent chemistry with Oliver Johnston as a boldly sung Jeník. Star of the show in the first part was David Ireland as the self-important and rather slippery Mayor, acting

as a marriage broker. Of course his machinations are soon rendered otiose by the confusion introduced by the circus troupe and its effect on the dopey-looking Vašek of John Findon, who

played a blinder in a Tommy Cooperish sort of way. Fine singing by everyone, musically driven forward with passion under the baton of Jac van Steen. The circus scene was a delight, and the

whole performance huge fun. A MESSAGE FROM THEARTICLE _We are the only publication that’s committed to covering every angle. We have an important contribution to make, one that’s needed now

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