Although Prague was one of the great musical centres of the 18th Century, the Czech lands did not have a native operatic tradition until Smetana came along in the middle of the 19th Century. His style owed much to Italian Opera and to Wagner plus his own Nationalistic views which were reflected in the rhythms of his country's folk songs. It was this style which brought Smetana's national music culture to the whole of Europe.

Born the son of a brewer, he showed exceptional musical ability as a child and following his musical education at the Priksch Institute in Prague, he first scratched out a living in his own country before deciding to try his luck in Sweden, where he lived in Gothenburg from 1856 to 1861. On his return to his homeland, he initially toured as a Pianist and in 1862, he began work on his first Opera, "The Brandenburgers in Bohemia". He had already begun work on his second Opera, "The Bartered Bride" when the opportunity arose for his first Opera to be premiered at the Provincial Theatre, which had opened a few years earlier specifically for the production of Czech opera. "The Brandenburgers in Bohemia" was premiered in 1866 and was an immediate success. Smetana was appointed Director and chief conductor of the Provincial Opera, a post he was to hold for eight years in the face of some opposition to his 'Wagnerian' style. Later in 1866, "The Bartered Bride" was premiered but met with only a lukewarm reception. Smetana correctly surmised that the problem lay not in his music but in the sheer length of the two acts and the use of a spoken dialogue. He re-cast it as a three-acter with recitative, a form in which it instantly achieved classic status.

As with most of Smetana's music, "The Bartered Bride" is built from simple basic material which is then often developed in a sophisticated manner. Though there are some elements of Italian fluency and Germanic declamation, the metre and pulse of the vocal parts are really dictated by the unique character of the Czech language. However, outside the Czech Republic, the Opera is mostly given in German although the English language treats it well.

Smetana continued to compose opera and other music during his tenure at the Provincial Theatre untl 1874 when an almost complete loss of hearing brought on by syphilis forced him to resign. Astonishingly, he continued to compose and it was during this period when seriously affected by the disease, that he produced a rich vein of what is probably his best work. In early 1884, he was committed to the Prague lunatic asylum which was where he died on the 12th May, 1884.

Smetana's Opera is extremely melodic throughout and the technical expertise of the composer is never obtrusive or complicated  -  not a single line of the Opera is beyond the efforts of good amateur singers, which it had to be, given the resources of the young Provincial Theatre.  When the Opera is performed by talented professional singers however, it becomes an absolute delight and it is this charm that has propelled 'The Bartered Bride' to international popularity.

(a) Siegfried Jerusalem (1979)
(b) James Johnston (1946)
(c) Fritz Wunderlich (1962)

For consideration:
(d)  Richard Tauber (1919)
(e)  Julius Patzak (1929)
(f)  Conny Soderstrom (1944)  In Swedish.

1.  Siegfried Jerusalem:  A multi-talented musician, he was a professional bassoonist while still studying singing. At one point he was rehearsing a tenor role in the afternoon and playing in the orchestra pit in a different production in the evening.  He sings the aria in a straight forward way with smoothness of legato and lightness of tone throughout.  An enjoyable performance.

2.  James Johnston:  An Irish tenor, he was plucked from the family butchers business in Belfast to become a professional Opera singer at the late age of 36.  He made his debut as Jenik at the Saders Wells Opera and moved to Covent Garden in 1949, where he was a favourite with audiences until he retired in 1958 after a dispute over fees.  He returned to the family business and it cost Covent Garden more for each performance by an imported tenor than Johnston had received for three.  He sings the aria in a forthright, uncomplicated manner with perfect diction and a firm line.

3.  Fritz Wunderlich:  He was destinned for great things until his untimely and tragic death at the age of 36.  Wunderlich had it all.  He sang Jenik many times on the stage and his characterization has the perfect blend of youthful arrogance which swiftly turns into an ardent declaration of love for Marenka.

4.  Richard Tauber:  What does one say?  Tauber is unmistakenly Tauber.  This 1919 performance is in rich tenor tones with the quick (but not too quick) Tauber vibrato and superb breath control, although it seems to me that for all that, there is little characterization.  Still, what a voice.

5.  Julius Patzak.  These days, Patzak's name does not excite much comment but he was known for his beautiful tone and superb vocal expressiveness.  In the 1929 performance, he displays these qualities and sings with an attractive sweetness and the odd lingering pause that makes this a most romantic performance.

6.  Conny Soderstrom:  This Swedish tenor was yet another pupil of Joseph Hislop and he sang mainly at the Swedish Royal Opera with the odd performance in Germany. His career was not international and this performance is sung in Swedish.  It is something of being the joker in the pack because this 1944 performance is really most beautifully sung.  Soderstrom sings with sweetness, expressiveness  and a delightful tenor sound.  A gem of a performance from this little known tenor.