Mirandolina (H. 346) is a 1953–54 [1] comic opera in three acts by Bohuslav Martinů, [2] with an Italian-language libretto by the composer after Carlo Goldoni's 1751 comedy The Mistress of the Inn (La locandiera). The opera, incorporating stretches of spoken dialogue between the characters against an orchestral background, was premiered on 17 May 1959 (shortly before the composer's death) at the Prague National Theatre, Czechoslovakia, when it was conducted by Václav Kašlik.
David Pountney has described the opera as "the work where Martinů's strain of fast-moving, neo-Classical style comes into its own... finding room for witty and ironic musical references to Italian madrigals, French vaudeville and Italian opera buffa". [3] Martinů's biographer Brian Large noted several highlights from the score: a coloratura aria in Act 1 Scene 6 for Mirandolina as well as waltzes, intermezzos and a saltarello, [4] the latter having been recorded in 1973 by the Czech State Philharmonic Orchestra Brno conducted by František Jílek.
The opera was the second musical adaptation of Goldoni's play, the first being a dramma giocoso by Antonio Salieri which premiered at the Vienna Kärtnertortheater in 1773. [5]
The first production of Mirandolina remained in the stage repertoire at the Prague National Theatre until 1963 and the opera was revived there in 1980–82. [6] It was staged in 2002 by the Belarus National Philharmonic Orchestra as part of the Wexford Festival, with Daniela Bruera in the title role and conducted by Riccardo Frizza; this production was recorded by the BBC and published on CD in 2004 by Supraphon.[ citation needed ]
The UK premiere was given by Garsington Opera in 2009 with Juanita Lascarro in the title role, and conducted by Martin André. [7]
In 2013–14, Mirandolina was seen at the National Moravian-Silesian Theatre in Ostrava. The German premiere of the original Italian version was then given in March 2014 at the Theater Gießen, conducted by Michael Hofstetter and directed by Andriy Zholdak; the Bavarian State Opera's Opernstudio performed the work in April 2014, conducted by Alexander Prior and directed by Christian Stückl, and in June it was staged at the Slovak National Theatre in Bratislava.[ citation needed ]
| Role | Voice type | Premiere cast [6] 17 May 1959 (Conductor: Václav Kašlík) |
|---|---|---|
| Mirandolina, an inn-keeper | soprano | Maria Tauberová |
| Ortensia, an actress | soprano | Jaroslava Procházková |
| Dejanira, an actress | contralto | Štěpánka Štěpánová |
| Conte d'Albafiorita | tenor | Oldřich Kovář |
| Cavaliere di Ripafratta | bass | Přemysl Kočí |
| Marchese di Forlimpopoli | bass | Jaroslav Horáček |
| Fabrizio, a waiter | tenor | Ivo Žídek |
| a servant to the Cavaliere di Ripafratta | tenor |
Mirandolina the inn-keeper is courted by various noblemen at her house in Florence. Two of them, Forlimpopoli and Albafiorita, try to vie with each other to seduce her, declaring that they are passionately in love with her, but having enchanted them she drops them. Another admirer is the sardonic misogynist Ripafratta, whom she sees as a challenge to win.
Mirandolina therefore decides to lure Ripafratta and seduce him. She sets out the tricks she is playing with Forlimpopoli and Albafiorita, and tries to use flattery and charm to gull Ripafratta. He however, becomes serious, playing on his rank and flushed with his first real love, and is furious when Mirandolina rejects him. Two elderly actresses, Ortensia and Dejanira pretend in vain that they are not upper class.
Mirandolina had all along been keen on her faithful waiter Fabrizio and ends up marrying him, having tested his fidelity, as a protection against the livid Ripafratta.
Bohuslav Jan Martinů was a Czech composer of modern classical music. He wrote 6 symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works. He became a violinist in the Czech Philharmonic Orchestra, and briefly studied under Czech composer and violinist Josef Suk. After leaving Czechoslovakia in 1923 for Paris, Martinů deliberately withdrew from the Romantic style in which he had been trained. During the 1920s he experimented with modern French stylistic developments, exemplified by his orchestral works Half-time and La Bagarre. He also adopted jazz idioms, for instance in his Kitchen Revue.
Béatrice et Bénédict is an opéra comique in two acts by French composer Hector Berlioz. Berlioz wrote the French libretto himself, based in general outline on a subplot in Shakespeare's Much Ado About Nothing.
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What Men Live By is an opera in one act by Bohuslav Martinů to an English libretto by the composer, based on Where Love Is, There God Is Also (1885) by Leo Tolstoy, though he chose to use the more universal title of a different Tolstoy story What Men Live By (1886). It was composed in 1951-1952 when the composer was living in the United States, and described by him as a 'pastoral-opera'.
Powder Her Face, Op. 14 (1995), is a chamber opera in two acts by the British composer Thomas Adès, with an English libretto by Philip Hensher. The opera is 100 minutes long. It was commissioned by the Almeida Opera, a part of London's Almeida Theatre, for performances at the Cheltenham Music Festival.
Julietta is an opera by Bohuslav Martinů, who also wrote the libretto, in French, based on the play Juliette ou la Clé des songes by the French author Georges Neveux. A libretto in Czech was later prepared for its premiere which took place at the Prague National Theatre on 16 March 1938. Julietta has become widely considered as Martinů's masterpiece.
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Ariane is a one-act opera by Bohuslav Martinů to a French libretto by the composer drawn from the second, third and fourth acts of the 1943 play Le Voyage de Thésée by Georges Neveux, who had supplied the text to the composer's earlier opera Julietta.
Faust is an opera by the German composer Louis Spohr. The libretto, by Joseph Karl Bernard, is based on the legend of Faust; it is not influenced by Goethe's Faust, though Faust, Part One had been published in 1808. Instead, Bernard's libretto draws mainly on Faust plays and poems by Friedrich Maximilian Klinger and Heinrich von Kleist. Spohr's Faust is an important work in the history of German Romantic opera.
The Mistress of the Inn, also translated as The Innkeeper Woman or Mirandolina, is a 1753 three-act comedy by the Italian playwright Carlo Goldoni centred around a coquette. The play has been regarded as his masterpiece, with Frederick Davies describing it as "Goldoni's Much Ado About Nothing".
Zanetto is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci. It received its first performance on 2 March 1896 at the Liceo Musicale Rossini in Pesaro. Only 40 minutes long and with cast of two singers, Zanetto was originally described by its composer as a scena lirica rather than an opera. It is set in the countryside near Florence during the Renaissance and tells the story of an encounter between a beautiful courtesan, Silvia, and a young wandering minstrel, Zanetto. The libretto was adapted from an Italian translation by Emilio Praga of François Coppée's play Le passant in which the young Sarah Bernhardt had won fame in the en travesti role of Zanetto.
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La locandiera is a 1980 Italian comedy film directed by Paolo Cavara, based on the Carlo Goldoni's three-act comedy The Mistress of the Inn.

The Innkeeper is a 1944 Italian historical comedy film directed by Luigi Chiarini and starring Luisa Ferida, Armando Falconi and Osvaldo Valenti. The film is an adaptation of Carlo Goldoni's 1753 play The Mistress of the Inn, one of a number of times the work has been turned into films. It belongs to the movies of the calligrafismo style.
Hry o Marii is a Czech-language opera cycle in four parts, by Bohuslav Martinů. The first performance was on 23 February 1935 at the National Theatre in Brno, with Antonín Balatka conducting, and stage direction by Rudolf Walter. It has been described as "a work of great originality, unlike any other opera" and "imbued with a strange mysticism".
Larmes de couteau, H. 169, Knife tears, Czech Slzy nože, is a one-act opera by Bohuslav Martinů to a French libretto by Georges Ribemont-Dessaignes. Composed in Paris in March 1928, it was not premiered until October 1969 at the State Theatre, Brno. The plot contains surreal and grotesque elements, and the music demonstrates the composer's then preoccupation with jazz both in orchestration and musical language.
Les trois souhaits, ou Les vicissitudes de la vie, H. 175, The three wishes, or life's tribulations, Czech Tři přání, is a film opera by Czech composer Bohuslav Martinů to a libretto by Georges Ribemont-Dessaignes. Composed mainly in Paris between autumn 1928 and May 1929, it was not premiered until June 1971 at the State Theatre, Brno. Grove describes the work as "one of the composer's most experimental works, blending film with stage action", and as "a mature drama" it is "comparable in theatrical impact to many of Martinů's later operas."
Divadlo za bránou is a 1936 stage work in three acts by Bohuslav Martinů with his own libretto; the first act is a ballet pantomime ; acts two and three are entitled opera buffa. The work is a mixture of theatrical styles: ballet and pantomime, opera buffa and folk dance and music from Czechoslovakia. He aimed to employ texts "once the vehicle of genuine folk theatre" to emphasize the theatrical principle rather than what he described as "a musical libretto" where music simply accompanies the nuances of the drama. The title refers to a place of entertainment outside the gates of a city, such as where a travelling troupe might perform.