This issue of Opera Daily is by mezzo-soprano and guest author Heather Johnson. If youâd like to hear more from Heather, you can find her Rossini posts here and here. She also shared her thoughts on the loyal and deep friendship and companionship between Cio-Cio-San and Suzuki in Madama Butterfly in this post.
Before we hand the mic to Heather, I wanted to share this message that popped up in my nephewâs fortune cookie last night. When he read it out loud, I immediately thought of all of you. đ¶đ
Studying Gabriela BeĆaÄkovĂĄ
By Heather Johnson
While we are all familiar with the opera household names of RenĂ©e Fleming, Leontyne Price, Kiri Te Kanawa, Anna Netrebko, and the like, I wonder how many people know the incredible Slovakian soprano Gabriela BeĆaÄkovĂĄ? I knew only a little about her until recently when I was driving home from a rehearsal in NYC, and The Met Radio Station was playing a recording of her singing the title role in KĂĄtâa KabanovĂĄ in the early 90s. Her singing was honest and so powerful. I was mesmerized. When I got home, I went online to learn more about her. I listened to one recording after another. I was obsessed. Â
BeĆaÄkovĂĄ, born in 1947 in Bratislava, Czechoslovakia, now Slovakia, quickly became the quintessential interpreter of Czech composers of her time during the 80s and 90s. It was the conductor of the Opera Orchestra of New York, Eve Queler, who launched her career in the United States with her 1979 debut in JanĂĄÄekâs KĂĄtâa KabanovĂĄ followed by Smetanaâs LibuĆĄe in 1986, DvorĂĄkâs Rusalka in 1987 and then JanĂĄÄekâs JenĆŻfa in 1988. The public went crazy for her!Â
Here is a selection from Act 2 of JenĆŻfa. In this scene, JenĆŻfa, awakens groggy from her drug-induced sleep (given to her by KostelniÄka, her step-mother) looking for her baby but discovers he is not there (she had the baby out of wedlock with Ć teva, who has rejected her). In a panic, she prays, pleading with God to protect her baby. Her vulnerability and purity are heartbreaking in this performance.Â
đș Watch and listen here (8 minute listen) Soprano Gabriela BenaÄkovĂĄ singing âJenĆŻfa's Prayerâ from Act 2 in the title role of JenĆŻfa by LeoĆĄ JanĂĄÄek, Opera of the National Theatre in Brno, 1979, FrantiĆĄek JĂlek, conductor
Her successes with Opera Orchestra of New York led to her Metropolitan debut in the first Czech language production and first production of KĂĄĆ„a KabanovĂĄ by LeoĆĄ JanĂĄÄek. Her debut was followed by 39 appearances, including MimĂŹ in La bohĂšme, JenĆŻfa, Leonore in Fidelio, Desdemona in Otello, and the Met's premiere of Rusalka.Â
Here she is singing the most famous piece from the opera Rusalka by AntonĂn DvoĆĂĄk, "MÄsĂÄku a nebi hlubokĂ©m", (popularly know as the âSong to the Moonâ) from Act 1 from the Met premiere of Rusalka in 1993. While we have heard many sopranos sing this aria with great beauty and emotion, there is nothing like someone singing in their native tongue. Her caressing of the language and the honesty in her delivery is unrivaled.
đș Watch and listen here (7 minute listen), Soprano Gabriela BeĆaÄkovĂĄ in the title role of Rusalka singing âSong to the Moonâ, in a 1993 Metropolitan Opera production conducted by John Fiore Â
As I dove deeper into her recordings, I was overwhelmed by her singing and commitment to the drama, not just of the Czech works but everything she sang. When I found the following aria, I donât think I blinked or took a breath throughout the entire aria. I was mesmerized. I have heard this aria sung often but never quite this heartbreaking (and her eyes throughout đ). This woman is committed to this character.
In this scene, Margherita has poisoned her mother at the urging of Faust, killed her illegitimate baby she conceived (with him), and is now imprisoned. Losing her sanity, she sings of when she threw her baby in the sea, poisoned her mother, and begged for mercy.
đș Watch and listen here (5 minute listen), Soprano, Gabriela BeĆaÄkovĂĄ singing âLâaltra notte infondo al mareâ from Mefistofele by the Italian composer-librettist Arrigo Boito, in a 1989 production of Mefistofole, San Francisco Opera directed by Robert Carson and conducted by Maurizio Arena
Finally, I want to share this performance of another Marguerite with you, but this time the opera is by the composer Gounod. I must admit this is not my favorite aria, but I do love her singing it! This aria is the famous âJewel Songâ from the opera Faust by the composer Charles Gounod. In this scene, Marguerite tries on the jewels delivered by MĂ©phistophĂ©lĂšs as a gift from Faust. She is captivated by how they enhance her beauty.Â
đș Watch and listen here (5 minute listen), Soprano Gabriela BeĆaÄkovĂĄ as Marguerite, singing âJewel Song in the 1985 Vienna Staatsoper production of Faust, directed by Ken Russel and conducted by Erich Bender
Can you see why I am obsessed? Iâm so grateful to have taken the time to go deeper and learn more about this fantastic singer.Â
Does BeĆaÄkovĂĄâs singing sound familiar? She can be heard singing Rusalka âSong to the Moonâ in the movie Driving Miss Daisy and âVissi dâarteâ from Tosca in the American thriller Copycat.
Thank you for reading and listening,
Heather
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Once again I have learned how procrastination can be the road to hell that's "paved with good intentions". Had I taken the time to listen last Sunday when Heather Johnson's post hit my inbox, I could have enjoyed the extraordinarily beautiful voice of Slovakian soprano Gabriela BeĆaÄkovĂĄ all week long, instead of in a last-minute, post-Jubilee Day scramble. Even so, I'm happy to have had a new musical frontier to explore - the composers, operas, stories and artists found in the Slavic tradition.
I suspect I would be hard pressed to find anyone better than Gabriela BeĆaÄkovĂĄ to perform those two arias by her Czech kinsmen: âJenĆŻfa's Prayerâ from "JenĆŻfa" by LeoĆĄ JanĂĄÄek and "MÄsĂÄku a nebi hlubokĂ©m" (âSong to the Moonâ) from "Rusalka" by AntonĂn DvoĆĂĄk. Even without understanding the language, her calm, emotion-laden, lyrical soprano moved me deeply. Â
So, too, did the filmed version I watched of "JenĆŻfa" with English subtitles (JENUFA LeoĆĄ JanĂĄÄek: - JejĂ PastorkyĆa - YouTube). JanĂĄÄek drew his inspiration from his unique cultural traditions, even though he shared the same musical language as French, Italian, and German opera composers. This opera sounded different, more dialectical, more modern. I hope this isn't sacrilegious, but at times "JenĆŻfa" reminded me of American musical theater, perhaps because it was reportedly "among the first operas written in prose", and was "known for its unsentimental realism". (JenĆŻfa - Wikipedia).
LeoĆĄ JanĂĄÄek (LeoĆĄ JanĂĄÄek - Wikipedia) and Gabriela BeĆaÄkovĂĄ (Gabriela BeĆaÄkovĂĄ - Wikipedia) have been a real gift to my eyes and ears. Thanks to âLâaltra notte infondo al mareâ from "Mefistofele" by Arrigo Boito, and âJewel Songâ from "Faust" by Charles Gounod, I'm signed up for life in theGabriela BeĆaÄkovĂĄ fan club đ€©. (Move over, Leyla Gencer and Edita Gruberova!đ)
Saved for future reading and listening:
AntonĂn DvoĆĂĄk ("Rusalka")Â
Arrigo Boito ("Mefistofele")Â
Charles Gounod ("Faust")Â
 So much opera, so little time! Thank you, Heather!
Beautiful choices - thank you