{"id":1705,"date":"2018-09-23T11:11:06","date_gmt":"2018-09-23T10:11:06","guid":{"rendered":"http:\/\/www.cozynotes.cz\/?p=1705"},"modified":"2018-09-23T22:49:54","modified_gmt":"2018-09-23T21:49:54","slug":"marianske-leto-ve-dvou-obrazech-hudebnich-a-dvou-mezihrach-krajinnych","status":"publish","type":"post","link":"https:\/\/www.cozynotes.cz\/index.php\/2018\/09\/23\/marianske-leto-ve-dvou-obrazech-hudebnich-a-dvou-mezihrach-krajinnych\/","title":{"rendered":"Mari\u00e1nsk\u00e9 l\u00e9to ve dvou obrazech hudebn\u00edch a dvou mezihr\u00e1ch krajinn\u00fdch"},"content":{"rendered":"

Obraz prvn\u00ed |\u00a0<\/strong>Zp\u011bvy l\u00e1sky v\u00e1\u0161niv\u00e9 i ne\u0161\u0165astn\u00e9<\/strong><\/h1>\n

Regula M\u00fchlemann a La Folia Barockorchester | Frauenkirche Dresden<\/span><\/p>\n

Ve\u010der sestaven\u00fd z \u00e1ri\u00ed barokn\u00edch oper v\u011bnovan\u00fdch femme fatale – Kleopat\u0159e – v pod\u00e1n\u00ed n\u00e1dhern\u00e9ho a zvu\u010dn\u00e9ho sopr\u00e1nu Reguly M\u00fchlemann v doprovodu mlad\u00e9ho a sv\u011b\u017e\u00edho orchestru, to\u0165 skv\u011bl\u00fd hudebn\u00ed z\u00e1\u017eitek ze sask\u00e9 metropole na Labi.<\/span><\/p>\n

T\u00e9ma v\u00e1\u0161niv\u00e9 l\u00e1sky egyptsk\u00e9 kr\u00e1lovny bylo hojn\u011b a vd\u011b\u010dn\u011b zpracov\u00e1no mnoha barokn\u00edmi mistry. Na programu byli Graun, Hasse, Scarlatti, H\u00e4ndel, Vivaldi. Krom\u011b \u00e1ri\u00ed z oper byly zastoupeny i ryze orchestr\u00e1ln\u00ed virtu\u00f3zn\u00ed kusy pln\u00e9 v\u00e1\u0161n\u011b, Vivaldiho koncert pro housle, smy\u010dce a basso continuo D-dur, RV 208, a Geminianiho hrav\u00fd virtu\u00f3zn\u00ed Concerto grosso \u00a0\u010d.12 \u201cLa folia\u201d podle Corelliho son\u00e1ty op. 5., kde exceloval um\u011bleck\u00fd vedouc\u00ed La Folia Barockorchester Robin Peter M\u00fcller, s\u00e1m rod\u00e1k z Dr\u00e1\u017e\u010fan.<\/span><\/p>\n

Regula M\u00fchlemann zvl\u00e1dla s eleganc\u00ed a bravurou vykreslit r\u016fzn\u00e9 polohy l\u00e1sky, od odevzdan\u00e9 a n\u011b\u017en\u00e9 jako t\u0159eba \u201cSe tu sarai felice\u201d a\u017e po prudk\u00e9 st\u0159\u00edd\u00e1n\u00ed n\u00e1lad ve Vivaldiho \u00e1rii \u201cSquarciami pure il seno\u201d a publikum si podmanila stejn\u011b jako Kleopatra Caesara nebo Marka Antonia.<\/span><\/p>\n

P\u0159\u00eddavek v podob\u011b duetu \u201cQuando voglio\u201d byl sladkou, kr\u00e1snou a tane\u010dn\u00ed t\u0159e\u0161ni\u010dkou na dortu. Cel\u00fd za\u010d\u00edn\u00e1 n\u011b\u017enou harfou. Jak\u00e9 p\u0159ekvapen\u00ed v publiku zp\u016fsobilo, kdy\u017e prvn\u00ed hlas nezazn\u011bl od Kleopatry, ale od harfenistky Kate\u0159iny Ghannudi! Teprve pozd\u011bji se p\u0159id\u00e1 orchestr s pom\u011brn\u011b tane\u010dn\u00ed melodi\u00ed a samoz\u0159ejm\u011b sopr\u00e1n Reguly M\u00fchlemann. Oba hlasy se pak spoj\u00ed v lib\u00e9m graduj\u00edc\u00edm duetu. A kosteln\u00ed lavice jsou v tu chv\u00edli svazuj\u00edc\u00ed, proto\u017ee poslucha\u010d by nejrad\u011bji tan\u010dil jak na n\u011bjak\u00e9 africk\u00e9 evangelik\u00e1ln\u00ed bohoslu\u017eb\u011b.<\/span><\/p>\n

Bravi tuti!<\/span><\/p>\n

A dobr\u00e1 zpr\u00e1va pro ty z v\u00e1s, kter\u00e9 to \u010dten\u00ed zaujalo. Celou tu radost, v\u00e1\u0161e\u0148 i stesk si m\u016f\u017eete poslechnout na CD Cleopatra, kter\u00e9 Regula M\u00fchlemann a La Folia Barockorchester vydali u Sony.<\/span><\/p>\n

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Mezihra | \u010cesk\u00e9 a Sask\u00e9 \u0160v\u00fdcarsko<\/strong><\/h1>\n

Bloud\u011bn\u00ed mezi skalami je jako bloud\u011bn\u00ed po cest\u00e1ch l\u00e1sky.<\/span><\/p>\n

Dechberouc\u00ed v\u00fdhledy, stoup\u00e1n\u00ed do kopc\u016f, z\u00e1vrat\u011b na \u017eeb\u0159\u00edc\u00edch.<\/span><\/p>\n

Stinn\u00e9 rokle i \u00fapal na p\u00edskovcov\u00fdch skal\u00e1ch.<\/span><\/p>\n

Romantick\u00e1 sniv\u00e1 samota i \u00fazkost z davu.<\/span><\/p>\n

Kontrasty \u010cesk\u00e9 i Sask\u00e9 strany.<\/span><\/p>\n

Nam\u00edsto odpov\u011bd\u00ed nov\u00e1 a nov\u00e1 rozcest\u00ed.<\/span><\/p>\n

Dej\u00e0 vu i nov\u00e1 setk\u00e1n\u00ed.<\/span><\/p>\n

A na konci \u0159eka, do n\u00ed\u017e se nevstupuje dvakr\u00e1t.<\/span><\/p>\n

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Obraz druh\u00fd | Orfeus v Plzni<\/strong><\/h1>\n

A zase l\u00e1ska. A zase v\u00fdstupy a p\u00e1dy. Jen paprsek nad\u011bje zb\u00fdv\u00e1.<\/span><\/p>\n

Baroko milovalo velk\u00e9 antick\u00e9 p\u0159\u00edb\u011bhy. Orfeus fascinoval stejn\u011b jako Kleopatra. L\u00e1ska, kter\u00e1 v okam\u017eiku napln\u011bn\u00ed kon\u010d\u00ed smrt\u00ed, \u0161t\u011bst\u00ed a bla\u017eenost, kter\u00e9 se jedin\u00fdm ohl\u00e9dnut\u00edm m\u011bn\u00ed v beznad\u011bj a zoufalstv\u00ed. To je p\u0159\u00edb\u011bh Orfea, toho, jen\u017e hudbou p\u0159emohl podsv\u011bt\u00ed a s\u00e1m sebe p\u0159emoci nedok\u00e1zal.<\/span><\/p>\n

Bohu\u017eel inscenov\u00e1n\u00ed barokn\u00edch oper je st\u00e1le popelkou na \u010desk\u00fdch sc\u00e9n\u00e1ch. M\u00e1me tolik v\u00fdborn\u00fdch muzikant\u016f a zp\u011bv\u00e1k\u016f v oboru a p\u0159esto se na\u0161e opern\u00ed domy velk\u00fdch barokn\u00edch kus\u016f a\u017e na \u010destn\u00e9 v\u00fdjimky boj\u00ed. Proto Plzni pat\u0159\u00ed velk\u00fd d\u00edky za odvahu s jakou se tu pustili do Monteverdiho Orfea. Plze\u0148\u0161t\u00ed tak nav\u00e1zali na svoje p\u0159edsednictv\u00ed evropsk\u00e9 kultu\u0159e z roku 2015, tehdy Plze\u0148sko o\u017eilo i barokem. A dlu\u017eno \u0159\u00edct, \u017ee s Monteverdiho Orfeem obst\u00e1li se ct\u00ed. Je to kus, na kter\u00fd se vyplat\u00ed zajet, a nic na tom nem\u011bn\u00ed skute\u010dnost, \u017ee m\u00e1m k plze\u0148sk\u00e9mu proveden\u00ed i v\u00fdhrady.<\/span><\/p>\n

Cel\u00e9 proveden\u00ed velmi vkusn\u011b a poveden\u011b odkazuje k tradic\u00edm barokn\u00ed inscenace. Na sc\u00e9n\u011b se da\u0159\u00ed vytvo\u0159it kr\u00e1sn\u00e9 obrazy. Od t\u00e9m\u011b\u0159 rajsk\u00e9 atmosf\u00e9ry svatby Orfea s Eurydikou a\u017e po p\u0159\u00edzra\u010dnou n\u00e1ladu na b\u0159ez\u00edch podsv\u011btn\u00ed \u0159eky. Jemn\u00e9 a mihotav\u00e9 paprsky slunce sh\u016fry prosv\u011btluj\u00ed potemn\u011blou atmosf\u00e9ru chladn\u00fdch vod. Bohu\u017eel se tyhle sc\u00e9ny neda\u0159\u00ed \u0159adit za sebou tak, aby se prostupovaly a udr\u017eovaly kouzlo d\u011bje. Atmosf\u00e9ra \u0159eky je necitliv\u011b p\u0159erv\u00e1na sc\u00e9nou s p\u0159evozn\u00edkem, kter\u00e1 vypad\u00e1 jako z nepoveden\u00e9ho ochotnick\u00e9ho proveden\u00ed. Orfeovo p\u0159ech\u00e1zen\u00ed sem a tam naprosto zni\u010d\u00ed iluzi p\u0159echodu na druh\u00fd b\u0159eh. To je velk\u00e1 \u0161koda. Kdyby se inscena\u010dn\u00edmu t\u00fdmu poda\u0159ilo udr\u017eet vypr\u00e1v\u011bc\u00ed linii v t\u011bch snov\u00fdch obrazech, mohlo b\u00fdt p\u0159edstaven\u00ed vynikaj\u00edc\u00ed.<\/span><\/p>\n

Kost\u00fdmy jsou v z\u00e1sad\u011b poveden\u00e9, vyu\u017eit\u00ed antick\u00fdch hlav odkazuje k antice. Na fotografi\u00edch to vypad\u00e1 v\u00fdborn\u011b, ale v d\u011bji mi \u010dase za\u010dalo vadit. Zvl\u00e1\u0161t\u011b ve st\u00ednov\u00fdch obrazech tyto hlavy pom\u011brn\u011b deformuj\u00ed iluzi, kterou st\u00edny postav vytv\u00e1\u0159ej\u00ed. Ve sc\u00e9n\u011b Orfeovy svatby je pak \u0161koda, \u017ee se nevyu\u017eilo v\u00edce barevnosti k vyj\u00e1d\u0159en\u00ed kontrastu mezi vrcholn\u00fdm \u0161t\u011bst\u00edm nov\u00e9ho p\u00e1ru a nezm\u011brnou bolest\u00ed p\u0159i ztr\u00e1t\u011b Eurydiky. Tenhle p\u0159echod, n\u00e1dhern\u011b zachycen\u00fd v Monteverdiho hudb\u011b, nen\u00ed na sc\u00e9n\u011b vlastn\u011b p\u0159\u00edli\u0161 patrn\u00fd. M\u00e1m zkr\u00e1tka r\u00e1d proveden\u00ed, kde to, co je v hudb\u011b, zra\u010d\u00ed se i na jevi\u0161ti. Re\u017eis\u00e9r Tom\u00e1\u0161 Pila\u0159 v tomto trochu zaspal a nesta\u010dil v\u00fdborn\u00e9mu hudebn\u00edmu nastudov\u00e1n\u00ed Vojt\u011bcha Spurn\u00e9ho, kter\u00e9 mi naopak p\u0159ipomn\u011blo proveden\u00ed t\u00e9to opery z Gran Teatre del Liceu v Barcelon\u011b.<\/span><\/p>\n

Trochu m\u011b zklamal sv\u011bteln\u00fd design Daniela Tesa\u0159e, kter\u00e9ho zn\u00e1m jako naprostou \u0161pi\u010dku v oboru. Sc\u00e9na, kdy Orfeus opou\u0161t\u00ed H\u00e1dovu \u0159\u00ed\u0161i je toti\u017e vlastn\u011b naruby. Zp\u00edv\u00e1 se o odchodu do sv\u011btla dne a p\u0159itom sv\u011btlo z\u00e1\u0159\u00ed z podsv\u011btn\u00ed \u0159\u00ed\u0161e a to je\u0161t\u011b tak hloup\u011b, \u017ee osl\u0148uje div\u00e1ky v hledi\u0161ti.<\/span><\/p>\n

Nicm\u00e9n\u011b dost kritiky. P\u0159edstaven\u00ed je na \u010desk\u00e9 pom\u011bry mimo\u0159\u00e1dn\u00e9! M\u00fdmi hnidopi\u0161sk\u00fdmi v\u00fdtkami se nenechte otr\u00e1vit a jestli m\u00e1te chu\u0165 na barokn\u00ed operu, vyrazte do Plzn\u011b. Stoj\u00ed to za to. U\u017e t\u0159eba jen proto, \u017ee v tituln\u00ed roli\u00a0exceluje Luk\u00e1\u0161 Zeman!<\/span><\/p>\n

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Mezihra | Maria Stock<\/strong><\/h1>\n

Kde kon\u010d\u00ed let je pust\u00e1 ves<\/span><\/em><\/p>\n

Mari\u00e1nsk\u00e9 schody do nebes<\/span><\/em><\/p>\n

Pod schody kostel a v n\u011bm tma<\/span><\/em><\/p>\n

Dv\u011b v\u011b\u017ee dr\u017e\u00ed ho jak lva<\/span><\/em><\/p>\n

K\u0159iv\u00ed se na nich k\u0159\u00ed\u017ee dva<\/span><\/em><\/p>\n

—Petr Linhart<\/span><\/p>\n

 <\/p>\n

S Petrem se tro\u0161ku zn\u00e1me z jeho n\u00e1v\u0161t\u011bv v Sob\u00edku. M\u00e1m r\u00e1d jeho p\u00edsni\u010dky a p\u0159\u00edb\u011bhy. A jeden z t\u011bch nejzn\u00e1m\u011bj\u0161\u00edch je pr\u00e1v\u011b ze Skok\u016f. Maria Stock. Zmizel\u00e1 vesnice v Sudetech. Kolik takov\u00fdch je\u2026<\/span><\/p>\n

Kone\u010dn\u011b se mi poda\u0159ilo se tam dostat. <\/span><\/p>\n

Kr\u00e1sn\u00fd den. Mari\u00e1nsk\u00e9 l\u00e9to. K\u0159i\u0161\u0165\u00e1lov\u011b \u010dist\u00fd vzduch jak ho zn\u00e1m t\u0159eba z Islandu. St\u0159\u00edbrn\u00e9 v\u011b\u017ee obrovsk\u00e9ho kostela ukryt\u00e9ho v malebn\u00e9 krajin\u011b luk pro\u0161\u00edvan\u00e9 alejemi jablon\u00ed a je\u0159\u00e1b\u016f. Nebe pln\u00e9 st\u00e1d b\u011blostn\u00fdch ovc\u00ed a ber\u00e1nk\u016f a na louk\u00e1ch velk\u00e1 st\u00e1da krav.<\/span><\/p>\n

Panenko sk\u00e1kav\u00e1, to je tak kr\u00e1sn\u00e9 m\u00edsto!<\/span><\/p>\n

M\u011blo zaniknout, zmizet. A nezmizelo. P\u0159e\u017eilo jozef\u00ednsk\u00e9 reformy, v\u00e1lku, komunismus a paradoxn\u011b nejv\u011bt\u0161\u00ed r\u00e1nu mu zasadila divok\u00e1 devades\u00e1t\u00e1 l\u00e9ta. A navzdory tomu jej Stella matutina neopustila. Dobrovoln\u00edci pracuj\u00ed na jeho obnov\u011b a \u017eije to tu. Ukazuje se, \u017ee \u017eivot nepot\u0159ebuje opraven\u00fd d\u016fm, \u017ee B\u016fh m\u016f\u017ee promlouvat v rann\u00edm v\u00e1nku, \u017ee modlitby mohou k nebi stoupat jako d\u00fdm z ohni\u0161\u0165, na nich\u017e ho\u0159\u00ed vysekan\u00e9 ro\u0161t\u00ed z okol\u00ed kostela. A z lesa vystupuj\u00ed obrysy z\u00e1klad\u016f staven\u00ed, zraj\u00ed tu star\u00e9 odr\u016fdy hru\u0161n\u00ed, mu\u0161katelky, \u010di co j\u00e1 v\u00edm. Jsou jako f\u00edky z r\u00e1je. Mal\u00e9, sladk\u00e9, pln\u00e9 sem\u00ednek. Jablon\u011b a \u0161vestky. Lem lesa se modr\u00e1 trnkov\u00fdmi ke\u0159i.<\/span><\/p>\n

A v kostele lze st\u00e1le vystoupat do nebes a promluvit s Pannou Mari\u00ed. <\/span><\/p>\n

A to je dob\u0159e!<\/span><\/p>\n

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V krajin\u011b jsou nov\u011b vys\u00e1zen\u00e9 aleje star\u00fdch odr\u016fd jablon\u00ed a je\u0159\u00e1b\u016f.<\/figcaption><\/figure>\n
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Kostel stoj\u00ed v m\u00edst\u011b p\u016fvodn\u00ed kapli\u010dky. M\u00edsto nebylo pro stavbu velk\u00e9ho kostela zrovna nejvhodn\u011bj\u0161\u00ed, je podm\u00e1\u010den\u00e9 a podlo\u017e\u00ed je nestabiln\u00ed. Architekt tedy vytvo\u0159il odvod\u0148ovac\u00ed syst\u00e9m a stavbu se sna\u017eil maxim\u00e1ln\u011b odleh\u010dit. Klenby uvnit\u0159 kostela jsou tedy v z\u00e1kladu d\u0159ev\u011bn\u00e9.<\/figcaption><\/figure>\n
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N\u011bm\u00e9 varhany<\/figcaption><\/figure>\n
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V\u011b\u0159\u00edc\u00ed mohli v kostele skute\u010dn\u011b vystoupat do nebes a promluvit si s Pannou Mari\u00ed. A je tomu tak dodnes, by\u0165 origin\u00e1ln\u00ed obraz tzv. Pasovsk\u00e9 madony je dnes ulo\u017een v kl\u00e1\u0161te\u0159e premonstr\u00e1t\u016f v nedalek\u00e9 Tepl\u00e9. Ostatn\u011b Pasovsk\u00e1 madona je p\u016fvodn\u011b obraz od Lucase Cranacha. Ov\u0161em nes\u010detn\u011bkr\u00e1t p\u0159emalovan\u00fd. Podstata v\u0161ak z\u016fst\u00e1v\u00e1 a propojuje…<\/figcaption><\/figure>\n
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Hospodin \u0159ekl: \u201eVyjdi a postav se na ho\u0159e p\u0159ed Hospodinem.\u201c A hle, Hospodin se tudy ub\u00edr\u00e1. P\u0159ed Hospodinem velik\u00fd a siln\u00fd v\u00edtr rozerv\u00e1vaj\u00edc\u00ed hory a t\u0159\u00ed\u0161t\u00edc\u00ed sk\u00e1ly, ale Hospodin v tom v\u011btru nebyl. Po v\u011btru zem\u011bt\u0159esen\u00ed, ale Hospodin v tom zem\u011bt\u0159esen\u00ed nebyl. Po zem\u011bt\u0159esen\u00ed ohe\u0148, ale Hospodin ani v tom ohni nebyl. Po ohni hlas tich\u00fd, jemn\u00fd. Jakmile jej Elij\u00e1\u0161 usly\u0161el, zavinul si tv\u00e1\u0159 pl\u00e1\u0161t\u011bm, vy\u0161el a postavil se u vchodu do jeskyn\u011b. (1. Kr\u00e1lovsk\u00e1 19, 11-13)<\/figcaption><\/figure>\n
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Stezka Jit\u0159n\u00ed hv\u011bzdy.<\/figcaption><\/figure>\n

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Obraz prvn\u00ed |\u00a0Zp\u011bvy l\u00e1sky v\u00e1\u0161niv\u00e9 i ne\u0161\u0165astn\u00e9 Regula M\u00fchlemann a La Folia Barockorchester | Frauenkirche Dresden Ve\u010der sestaven\u00fd z \u00e1ri\u00ed barokn\u00edch oper v\u011bnovan\u00fdch femme fatale – Kleopat\u0159e – v pod\u00e1n\u00ed n\u00e1dhern\u00e9ho a zvu\u010dn\u00e9ho sopr\u00e1nu Reguly M\u00fchlemann v doprovodu mlad\u00e9ho a sv\u011b\u017e\u00edho orchestru, to\u0165 skv\u011bl\u00fd hudebn\u00ed z\u00e1\u017eitek ze sask\u00e9 metropole na Labi.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37,52,51,50],"tags":[],"_links":{"self":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/1705"}],"collection":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/comments?post=1705"}],"version-history":[{"count":10,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/1705\/revisions"}],"predecessor-version":[{"id":1749,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/1705\/revisions\/1749"}],"wp:attachment":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/media?parent=1705"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/categories?post=1705"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/tags?post=1705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}