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Book: 100 Great Operas and Their Stories: Act-By-Act Synopses by Henry W. Simon
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Authors: Henry W. Simon
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performance at St. Petersburg, the opera was divided into three acts and the spoken dialogue turned into recitative. It is in the final version that it is almost always played nowadays.
OVERTURE
Music lovers who have never heard The Bartered Bride in its entirety must still be quite familiar with the overture, as it has long been a standard part of the orchestral repertoire. Its themes are all heard a second time during the finale of Act II.
ACT I
On the main square of a small Bohemian village a chorus of countryfolk sets the tone of the whole opera by singing gaily in praise of spring and of youthful love—with an added note of warning about the dangers of marriage. The two young lovers, Marie and Hans, alone are feeling sad, and when the villagers leave, their reasons become clear in a duet. Marie is bothered for two reasons. First, she knows that her parents are arranging a wedding for her with some unknown. Second, she knows nothing about the life of Hans before he recently came to this village. Hans is of a more sanguine nature. He assures Marie that all she needs to do is to remain steadfast to him, and no unknown suitor can take her away. As for the second point, he tells her that he came of a wealthy home, but his father’s second wife did not like him, and so he has come away to seek his own fortune. The two lovers swear eternal faith very prettily, but they are interrupted when threeolder characters occupy the stage. These are Marie’s parents—Kruschina and Katinka—and a comic marriage broker named Kezal. Their conversation reveals the fact that the parents are practically ready to give away Marie in marriage to the son of a rich man named Misha. Only the mother has some reservations. She thinks that Marie ought to be consulted.
When Marie hears of these plans, she firmly puts her foot down, announcing that she has already promised to marry Hans. The older folk are scandalized, and Father Kruschina goes off to talk the matter over with Misha, while Kezal decides to tackle Hans.
Once more the countryfolk gather on the stage, and the act closes with the very jolly Polka .
ACT II
The second act begins with a drinking song at the local inn. It is punctuated with solos by the marriage broker, Kezal, in praise of gold, and by the young lover, Hans, toasting (of course) love. Then everyone joins in a dance.
Now, for the first time, we meet Wenzel, a pathetic figure of a young man—the son of the wealthy Misha and the candidate for Marie’s hand. The poor fellow stutters and is dreadfully shy. He has never met Marie, but Marie knows who he is. And so, in a duet, she persuades him to give up the unknown Marie. That young woman, she says, has no use for Wenzel, no respect for him; she will make his life miserable; and, furthermore, there is a very pretty young girl in the village who is sighing her heart out for love of Wenzel. Finally Marie makes Wenzel swear that he will never even come near Marie. This number is followed by another long duet, a very comic one, in which Kezal tries to persuade Hans to give up Marie. Hans, he says, is too inexperienced to know that you must have money to marry. Nor does he know how dreadful women can become once they have caught their men. Better to remain singlel And then, with complete lack of logic, he offers Hans a girl who has everything under the sun. He lists each item, and Hans repeats every detail after him. Furthermore,Kezal is prepared to offer 100 … 200 … no—300 gulden for giving up Marie. Give her up—to whom? asks Hans. Why, to the son of Misha, of course.
Now, Hans himself is really a son of Misha by Misha’s first marriage, but Kezal does not know this. Therefore, Hans is prepared to sign an agreement. He is to receive 300 gulden with the understanding that Marie must marry no one but the son of Misha. Everyone comes in to witness the signing of this document, and everyone is shocked that Hans should be willing to sell his fiancée. Only Hans
OVERTURE
Music lovers who have never heard The Bartered Bride in its entirety must still be quite familiar with the overture, as it has long been a standard part of the orchestral repertoire. Its themes are all heard a second time during the finale of Act II.
ACT I
On the main square of a small Bohemian village a chorus of countryfolk sets the tone of the whole opera by singing gaily in praise of spring and of youthful love—with an added note of warning about the dangers of marriage. The two young lovers, Marie and Hans, alone are feeling sad, and when the villagers leave, their reasons become clear in a duet. Marie is bothered for two reasons. First, she knows that her parents are arranging a wedding for her with some unknown. Second, she knows nothing about the life of Hans before he recently came to this village. Hans is of a more sanguine nature. He assures Marie that all she needs to do is to remain steadfast to him, and no unknown suitor can take her away. As for the second point, he tells her that he came of a wealthy home, but his father’s second wife did not like him, and so he has come away to seek his own fortune. The two lovers swear eternal faith very prettily, but they are interrupted when threeolder characters occupy the stage. These are Marie’s parents—Kruschina and Katinka—and a comic marriage broker named Kezal. Their conversation reveals the fact that the parents are practically ready to give away Marie in marriage to the son of a rich man named Misha. Only the mother has some reservations. She thinks that Marie ought to be consulted.
When Marie hears of these plans, she firmly puts her foot down, announcing that she has already promised to marry Hans. The older folk are scandalized, and Father Kruschina goes off to talk the matter over with Misha, while Kezal decides to tackle Hans.
Once more the countryfolk gather on the stage, and the act closes with the very jolly Polka .
ACT II
The second act begins with a drinking song at the local inn. It is punctuated with solos by the marriage broker, Kezal, in praise of gold, and by the young lover, Hans, toasting (of course) love. Then everyone joins in a dance.
Now, for the first time, we meet Wenzel, a pathetic figure of a young man—the son of the wealthy Misha and the candidate for Marie’s hand. The poor fellow stutters and is dreadfully shy. He has never met Marie, but Marie knows who he is. And so, in a duet, she persuades him to give up the unknown Marie. That young woman, she says, has no use for Wenzel, no respect for him; she will make his life miserable; and, furthermore, there is a very pretty young girl in the village who is sighing her heart out for love of Wenzel. Finally Marie makes Wenzel swear that he will never even come near Marie. This number is followed by another long duet, a very comic one, in which Kezal tries to persuade Hans to give up Marie. Hans, he says, is too inexperienced to know that you must have money to marry. Nor does he know how dreadful women can become once they have caught their men. Better to remain singlel And then, with complete lack of logic, he offers Hans a girl who has everything under the sun. He lists each item, and Hans repeats every detail after him. Furthermore,Kezal is prepared to offer 100 … 200 … no—300 gulden for giving up Marie. Give her up—to whom? asks Hans. Why, to the son of Misha, of course.
Now, Hans himself is really a son of Misha by Misha’s first marriage, but Kezal does not know this. Therefore, Hans is prepared to sign an agreement. He is to receive 300 gulden with the understanding that Marie must marry no one but the son of Misha. Everyone comes in to witness the signing of this document, and everyone is shocked that Hans should be willing to sell his fiancée. Only Hans
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