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''The Devil and Kate'', Op. 112, B.201, (''Čert a Káča'' in Czech) is an
opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librett ...
in three acts by
Antonín Dvořák Antonín Leopold Dvořák ( ; ; 8 September 1841 – 1 May 1904) was a Czechs, Czech composer. Dvořák frequently employed rhythms and other aspects of the folk music of Moravian traditional music, Moravia and his native Bohemia, following t ...
to a Czech
libretto A libretto (Italian for "booklet") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or Musical theatre, musical. The term ''libretto'' is also sometimes used to refer to the t ...
by Adolf Wenig. It is based on a farce by
Josef Kajetán Tyl Josef Kajetán Tyl (4 February 180811 July 1856; ) was a significant Czech dramatist, writer, and actor. He was a notable figure in the Czech National Revival movement and is best known as the author of the current national anthem of the Czech Re ...
, and the story also had been treated in the ''Fairy Tales'' of
Božena Němcová Božena Němcová () (4 February 1820 in Vienna – 21 January 1862 in Prague) was a Czech writer of the final phase of the ''Czech National Revival'' movement. Her image is featured on the 500 CZK denomination of the Česká koruna. Biograph ...
. The first performance of the opera was at the National Theatre, Prague, on 23 November 1899, under Adolf Čech. ''The Devil and Kate'' is one of the few operas of Dvořák, along with ''
Rusalka In Slavic folklore, the rusalka (plural: rusalky/rusalki; ; pl, rusałka}) is a typically feminine entity, often malicious toward mankind and frequently associated with water, with counterparts in other parts of Europe, such as the French Melus ...
'', to have remained in the repertory. This can be attributed to the high demand for Italian grand operas in his time and the difficulties of Dvořák's intricate staging. The opera has great appeal because of its combination of fairy tale and folk music; it is very close in feel to a Czech tone poem. At times, it feels like a Czech version of ''Hansel & Gretel''. The overture was written after the opera itself. John Clapham has written critical analysis of the opera and noted the presence of the style of
Wagnerian Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most op ...
declamation in the work.


Roles


Synopsis

:Place: The village of Dlouhá Lhota in
Bohemia Bohemia ( ; cs, Čechy ; ; hsb, Čěska; szl, Czechy) is the westernmost and largest historical region of the Czech Republic. Bohemia can also refer to a wider area consisting of the historical Lands of the Bohemian Crown ruled by the Bohem ...
and, in act 2, in
Hell In religion and folklore, hell is a location in the afterlife in which evil souls are subjected to punitive suffering, most often through torture, as eternal punishment after death. Religions with a linear divine history often depict hell ...
:Time:


Act 1

On a summer evening, Jirka, slightly intoxicated, begs to be excused from further dancing outside the village inn, as he will be in trouble with his employer, the Princess's Steward, if he does not return to his work. Kate then appears with her mother, and Jirka leaves with some of the musicians. Kate wants to dance, but her mother doesn't want her daughter to embarrass herself. Infuriated, Kate says that she will dance with a devil if necessary. Suddenly, a mysterious hunter appears, asking about the Steward and the Princess. He sits down with Kate, engages her in conversation, and asks her to dance with him. She accepts, eventually collapsing with exhaustion but nevertheless exhilarated. Jirka returns, furious with the Steward, who shouted at him for bringing the musicians with him, then beat him, dismissed him and told him to go to Hell. Meanwhile, the hunter has persuaded Kate to go with him to his splendid dwelling. He stamps on the ground, and the two of them disappear into the earth amid thunder, lightning and smoke. It is apparent to all that they have gone to Hell. Jirka, having nothing to lose, consoles Kate's mother by agreeing to follow the pair and rescue Kate, and the Act ends as he jumps into the new hole in the ground.


Act 2

In Hell, some Devils are playing cards for money. The Guard announces the arrival of Lucifer, who asks whether Marbuel has returned from Earth. On discovering that he hasn't, Lucifer asks to be informed when he does appear, and departs. The Gate-Keeper explains to the other Devils that Lucifer had sent Marbuel to see if the Princess and her Steward are ripe for Hell yet, as Marbuel is the mysterious hunter from Act 1. Marbuel now arrives, exhausted and carrying Kate, whom the Devils initially mistake for the Princess. She harangues him at length, and Marbuel explains that she is wearing a cross, which protects her against him so that he can't get rid of her. Lucifer re-enters to find out what the shouting is about. Then Jirka, saying that he has come for Kate, is admitted by the Gate-Keeper. He suggests to Lucifer that Kate might be bought off, and she is tempted by some golden chains that are produced. Meanwhile, Lucifer questions Marbuel about his trip, and agrees that the Princess should be brought to Hell, while the Steward should be threatened but reprieved for the time being. Marbuel now has to promise Jirka that he shall have some of the Princess's gold - given him by the Steward to reward him for fighting off the threatening Marbuel - if he will take Kate back to Earth. Jirka, pleased with the plan, agrees that the way to do that is to dance with Kate, and he manages to dance her out past the Gate-Keeper. The latter slams the gate shut, to the great relief of all, especially Marbuel, who remarks that music has succeeded in doing what the denizens of Hell could not.


Act 3

A hall in the Princess's castle. Marbuel's plan has worked, and Jirka rescued the Steward (who never appears on stage in the opera). The Princess has started to repent her misdeeds, but fears that nothing can save her, since the Steward was only doing her bidding and it is she whom the devils must carry to Hell. Nevertheless, she has summoned Jirka in the hope that he can ward them off. Jirka, embarrassed, tells her that she has already committed too many evil deeds, and he cannot help. The Princess promises to reform, but Jirka tells her that, unless she agrees to free the serfs, she will go to Hell and not even he will be able to save her. She agrees, and her Chamberlain announces her decree to the waiting crowd outside, who greet it with acclaim. Jirka now tells the Princess that he has a plan which will save her, and she exits so that he can make preparations. Jirka summons Kate, and explains that when Marbuel comes for the Princess, she (Kate) will be able to take her revenge on him. Kate enthusiastically agrees, and hides in the next room. The Princess returns and, instructed by Jirka, sits in her chair with her courtiers round her, while Jirka joins Kate. The moon illuminates the room and then the light turns red as Marbuel appears, telling the Princess that her time on Earth is up. To Marbuel's irritation, Jirka interrupts, but his annoyance changes to horror when Jirka tells him that Kate is coming to get him. The door flies open, and Kate stands in the lighted doorway. Marbuel screams and disappears through the window, never to return. The grateful Princess appoints Jirka as her new Prime Minister, and agrees that Kate shall have the best house in the town and plenty of money. Kate would also like to get married, but she anticipates that, with her new-found wealth, she will have no problem making a good match. The peasants arrive to thank the Princess for freeing them from bondage. Jirka promises them that, although now a minister, he is still on their side, and they depart, rejoicing, to enjoy a banquet provided by the Princess.


Recordings

* Supraphon LPV 337-339: Ludmila Komancová, Rudolf Asmus,
Přemysl Kočí Přemysl Kočí (1 June 1917 – 15 January 2003) was a Czech operatic baritone, actor, music educator, stage director, theatre manager and official of the Communist Party of Czechoslovakia. Biography Born in Rychvald, Kočí attended high s ...
, Lubomir Havlák, Marie Steinerova, Rudolf Vonasek, Jaroslava Vymazalova, Jaroslav Horáček, Karel Berman; Prague National Theatre Chorus and Orchestra; Zdeněk Chalabala, conductor. * Supraphon 11 1800-2 612: Anna Barová, Daniela Suryová, Richard Novák, Jaroslav Horáček, Aleš Šťáva, Jan Hladík, Pavel Kamas, Miloš Ježil, Oldřich Polášek, Natalie Romanová-Achaladze, Brigita Šulcová; Brno State Philharmonic Chorus; Brno Janáček Opera Orchestra; Jiří Pinkas, conductorTyrrell, John, Review of recording of ''Kate and the Devil'' (1982). ''The Musical Times'', 123 (1678): p. 846. * Kultur DVD D4443: Anne-Marie Owens, Joseph Evans, Peter Lightfoot, Kristine Ciesinski, Marko Putkonen, Joan Davies, Phillip Guy-Bromley, Kathleen Tynan, Alan Fairs, Geoffrey Davidson, Michael Forest, Julie Wong, Gavin Claire, Rossa Dunphy: Wexford Festival Chorus, Radio Telefís Éireann Symphony Orchestra; Albert Rosen, conductor.


References


External links


''The Devil and Kate'' on a comprehensive Dvorak site
{{DEFAULTSORT:Devil and Kate Operas by Antonín Dvořák 1899 operas Operas Czech-language operas Fiction about the Devil The Devil in opera