Foerster was a phenomenon
in Czech music. His great age meant
that he spanned both the foundation
of the national musical style and its
emergence as a major force in European
music. Already seven years old when
Smetana’s Bartered Bride was
premiered, he died only a few years
before Martinů
in the early 1950s.
Born into an established
musical family, he studied at the Prague
Organ School. Having married Bela Lautererova
in 1888, a soprano at the National Theatre,
he moved with her to Hamburg and later
Vienna. In the Austrian capital she
was engaged by Mahler, to appear at
the Hofoper. Mahler subsequently became
a good friend of the Foersters, as indeed
did Tchaikovsky. After a time in Vienna
the couple returned to Prague and Foerster
became a professor at the conservatoire
in the new Czech republic.
Despite his sojourn
in Austria, Foerster, like his great
compatriot Smetana, had developed extremely
close links with the National Theatre.
As a nine year old boy he witnessed
the laying of its foundation stone,
later singing in its chorus at the premiere
of Smetana’s Libuse. It’s hardly
surprising therefore that all six of
his operas were premiered there.
Foerster attended a
performance of Preissova’s play Eva
at the National Theatre in 1889, and
later wrote: " ... .the life
of the characters, the straightforward
action, the dramatic conflict, and above
all the character of Eva herself, overwhelming
in her emotional purity, all called
for musical interpretations that must
be the emotional fulfilment of everything
that words can only hint at but never
express."
Foerster was among
the first Czech composers to produce
work based on contemporary, realistic
scenarios, being credited with the introduction
of the so-called "village drama"
concept to the National Theatre. Eva
was perfectly suited to such an approach,
and when in 1896 the theatre announced
a competition for a new opera, he unhesitatingly
put it forward as his choice. The rivals
were strong; Fibich offered Sarka,
whilst Kovarovic produced Psohlavci
(The Dogheads). Although Kovarovic
won the day, Eva was not left
languishing for long, since its premiere
took place in Prague on New Year’s Day
1899.
Eva is essentially
a woman in the "wrong marriage".
Despite an attraction for Manek, who
seems mutually compatible, she eventually
rebuffs him. She is convinced that he
is too feeble to resist the objections
of his mother Mesjanovka, who has a
more wealthy bride in her sights. On
the rebound Eva decides to accept an
offer from Samko who, initially at least,
seems sympathetic.
All is well at first
and they have a baby daughter. Alas
she becomes ill and Samko refuses the
expense of calling the doctor to her,
with fatal results. Eva is distraught
and becomes increasingly disillusioned
and obsessed by the dead child. Manek
meanwhile persists in his entreaties
to her and eventually she relents and
accepts his advances, despite the fact
he has married Marysa. Manek decides
that whilst maintaining his wife and
children at home, he will take Eva away
to his Austrian farm, where they will
live a dual existence.
Unfortunately
for the couple Mesjanovka gets wind
of affairs and is not best pleased.
As lovers of Janáček opera will
know, the figure of the mother/mother-in-law
plays a powerful role in Czech domestic
life. She journeys to Austria to confront
the pair and Eva, who can bear the shame
no longer, rushes off to drown in the
Danube.
Although Czech audiences
still hankered after out-and-out romanticism,
the psychological drama of Eva
did receive a warm reception, becoming
a feature of the National Theatre for
many years, and receiving some forty
productions throughout the country.
Indeed, it arguably laid many of the
foundation stones for subsequent dramas
by Janáček.
Certainly it is the only one of Foerster’s
six operas to have had any sort of performance
history outside Czechoslovakia.
The musical idiom is
somewhat mixed; the ensemble scenes
were reminiscent of Smetana, whilst
the darker episodes, such as the
prelude to Act 3, foreshadow Janáček.
The singers in this production are generally
admirable. Wexford understandably tends
to incline toward youth and inexperience
in its casting, but often has the happy
knack of success. Only Denisa Harmarova
would elicit any criticism; not
due to poor vocalisation, but simply
because she sounds too young for the
character of Mesjanovka. The character
really needs more of the sound and feel
of a singer like Nadezda Kniplova or
Eva Randova. Meanwhile, the chorus and
orchestra are fine and the recording
is clear, albeit with inevitable stage
noise.
The major stumbling
block with the set is a lack of libretto
or translation. This is particularly
vexing in view of the score’s lack of
familiarity. A decent synopsis is provided
but, unlike the contemporaneous issue
on Marco Polo of Mercadante’s La
Vestale, there is no access to the
text on the Naxos website. The competing
Supraphon issue (which I have not heard)
is fully documented. A great pity since
this is an attractive score, well performed,
and one of great interest to anyone
curious about the foundation and development
of Czech opera.
So – if you indulge
in a snap purchase, I don’t think you’ll
be disappointed. But try and beg a libretto
from somewhere!
Ian Bailey
Wexford Festival Opera Chorus/Lubomir Matl 
