296:. A shot is heard during the celebrations; the old shepherd is waving the gun he has found, which he saw Ondrej burying. Ondrej confesses; as the police take him away, Katrena assures him the baby is his. In the original version Old Štelina is reconciled to the situation and shows that his concern is to assist Katrena to bring up the child. The chorus sings of the powers of love and song (vindicating the views of the Poet).
317:, Koloman Adamkovič, Olga Hanáková, Janka Gabčová, Helena Bartošová, Zita Frešová-Hudcová, Nina Hazuchová, Anna Hornungová-Martvoňová, ) Janko Blaho, Jozef Hrabovský, Václav Nouzovský, Zdeněk Ruth-Markov, Anna Marcineková, Jozef Pekár, Tatjana Puškarová, Karol Sekyra. Chorus and orchestra of the Slovak National Theatre, conducted by
327:, Ondrej Malachovský, Juraj Oniščenko, Olga Hanáková, Jaroslava Sedlářová, Ľuba Baricová, Anna Kalabová-Peňašková, Nina Hazuchová, Anna Martvoňová, Pavol Gábor, Juraj Martvoň, Václav Nouzovský, Stanislav Beňačka, Anna Marcineková, Jozef Ábel, Marta Meierová. Chorus and orchestra of the Slovak National Theatre, conducted by
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Party insisted that the original ending be changed to make it more 'optimistic'. Other serious changes were forced on the composer, involving dismantling the very important 'framework' to the opera which posited the story as the result of a wager between the Poet and his Double (spoken roles), and,
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A year later. Katrena has given birth to a boy, but Ondrej is becoming increasingly erratic, drinking and beating her. She confesses to old Štelina that Jan was her only true love. Katrena's neighbours hint that the baby looks more like someone else than Ondrej. In a rage, Ondrej stalks out to the
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by the composer. In the woods the drunken Ondrej has a vision of the dead Jan and is moved to confess. In the original version, the Double tries to persuade him (in an unusual duet between tenor and spoken voice) that there is no point in giving himself up as no-one knows about the crime; however
341:, Ondrej Malachovský, Vladimír Kubovčík, Alžběta Michálková, Jaroslava Sedlářová, Olga Hanáková, Eva Antolicová, Ľuba Baricová, Jana Valášková, Josef Kundlák, Juraj Martvoň, Peter Mikuláš, Stanislav Beňačka, Alžbeta Kubánková, Ľudovít Ludha, Anna Martvoňová, Jan Valentík. Slovak Philharmonic,
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The police come to investigate the murder but find nothing. Katrena's aunts persuade her that she should think of marrying now that Jan is dead, and propose Ondrej, who has always wanted her. Old Štelina says she would be better off living alone, and vows to continue his own investigations.
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In the 'Communist Party' version, the baby is asserted to be Jan's and is given to Old Štelina to raise. In the 1960s version Old Štelina's dreams of claiming the child are shattered; he vows revenge on Ondrej. The final chorus is a hymn to justice and the restoration of natural order.
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The original version, reconstituted in 2008 (see above) opens with a dialogue between the Poet and his Double. The Double maintains that base human nature will always triumph over conscience. He makes a wager with the poet to write a play in which it will be seen how things turn out.
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and abroad in the 1950s, the original ending only being restored in 1963. Complete reconstruction of the original, including the participation of the Poet and his Double, had to await the composer's centenary in 2008, when Suchoň's work as originally conceived was performed in
95:, which immediately inspired him. Urban himself however refused to collaborate on the libretto, writing in 1958 that the dramatization risked losing some of the ambiguities he had deliberately created in the book (e.g. the paternity of the heroine's baby).
118:. At first Suchoň refused to make any alterations; the opera was withdrawn from the repertoire. Pressure from his musical colleagues, who realised the importance of the work, induced him to change his mind, and this 'revised version' was performed in
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Ondrej resists this temptation. In the 'Communist' version after an internal struggle, Ondrej confesses to an unseen presence that he was Jan's murderer.
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Against her will
Katrena marries Ondrej in a full Slovak traditional wedding. At the ceremony Štelina again rebukes Katrena, inciting the fury of Ondrej.
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style to accompany external events. Traces of this dualism remain in the score, although Suchoň realised his original ideas were impractical.
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Jan Štelina is found dead in the woods. The previous night he had been with
Katrena. Štelina's father accuses her of his son's death.
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Suchoň was invited in 1940 to write an opera for the Slovak
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Suchoň's original conception was to write the opera using two different styles - a quasi-
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style to accompany the thoughts of the characters, and a more realistic,
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1988, Opus/Campion (1989/90). (Reissued 2008 Opus – 91 0101-2)
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Although the premiere was successful, the governing Slovak
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359:Danica Štilicha-Suchoňová and Igor Vajda,
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65:Za vyšným mlynom (Beyond the Upper Mill)
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323:1972, Opus (1973). Milan Kopačka,
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71:. The opera was premiered at the
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309:1953, Supraphon (LPV 151/153)
144:Premiere cast,10 December 1949
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51:written in the 1940s to a
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278:This scene is subtitled
79:, on 10 December 1949.
73:Slovak National Theatre
407:Slovak-language operas
397:Operas by Eugen Suchoň
313:, Margita Česányiová,
89:Beyond the Upper Mill
363:, Bratislava, 2008.
55:by the composer and
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339:Gabriela Beňačková
325:Gabriela Beňačková
32:(abroad staged as
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159:František Zvarík
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402:1949 operas
329:Tibor Frešo
311:Štefan Hoza
304:Discography
141:voice type
104:nationalist
93:World War I
57:Štefan Hoza
386:Categories
349:References
83:Background
77:Bratislava
69:Milo Urban
281:Catharsis
214:Zalčíčka
111:Communist
36:Whirlpool
375:Krútňava
270:forest.
217:soprano
202:Zimoňka
194:baritone
177:Katrena
53:libretto
29:Krútňava
354:Sources
289:Scene 6
274:Scene 5
265:Scene 4
257:Scene 3
248:Scene 2
240:Scene 1
231:Prelude
181:soprano
61:novella
41:Katrena
18:Katrena
392:Operas
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294:Easter
226:Précis
190:Zimoň
168:tenor
138:Role
131:Roles
45:opera
365:ISBN
155:bass
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