{"id":11243,"date":"2022-05-25T11:35:38","date_gmt":"2022-05-25T08:35:38","guid":{"rendered":"https:\/\/orer.eu\/?p=11243"},"modified":"2022-05-25T11:36:13","modified_gmt":"2022-05-25T08:36:13","slug":"franckova-monumentalni-symfonicka-basen-petr-altrichter-a-eva-hornyakova-na-prazskem-jaru","status":"publish","type":"post","link":"https:\/\/orer.eu\/cs\/2022\/05\/25\/franckova-monumentalni-symfonicka-basen-petr-altrichter-a-eva-hornyakova-na-prazskem-jaru\/","title":{"rendered":"Franckova monument\u00e1ln\u00ed symfonick\u00e1 b\u00e1se\u0148. Petr Altrichter a Eva Horny\u00e1kov\u00e1 na Pra\u017esk\u00e9m jaru"},"content":{"rendered":"\n

<\/h1>\n\n\n\n

Leto\u0161n\u00ed ro\u010dn\u00edk Pra\u017esk\u00e9ho jara v\u011bnuje v\u00fdznamnou pozornost jubileu belgicko-francouzsk\u00e9ho romantika C\u00e9sara Francka <\/strong>(1822\u20131890). Jeho monument\u00e1ln\u00ed symfonick\u00e1 b\u00e1se\u0148 se sborem Psych\u00e9<\/em> zazn\u00ed v pod\u00e1n\u00ed \u010cesk\u00e9 filharmonie<\/strong> a Petra Altrichtera <\/strong>ve \u010dtvrtek 26. kv\u011btna v pra\u017esk\u00e9m Rudolfinu. Franck vych\u00e1zel z antick\u00e9ho m\u00fdtu o lidsk\u00e9 bytosti, kr\u00e1sn\u00e9 princezn\u011b Psych\u00e9, do kter\u00e9 se zamiloval b\u016fh Er\u00f3s. Ov\u0161em skladatel v Psych\u00e9<\/em> nevid\u011bl p\u0159\u00edb\u011bh v\u00e1\u0161niv\u00e9 l\u00e1sky, ale vypr\u00e1v\u011bn\u00ed o vykoupen\u00ed a odpu\u0161t\u011bn\u00ed. V druh\u00e9 polovin\u011b koncertu nav\u00e1\u017ee Requiem<\/em> Gabriela Faur\u00e9 p\u0159in\u00e1\u0161ej\u00edc\u00ed povzn\u00e1\u0161ej\u00edc\u00ed momenty kontemplace a sm\u00ed\u0159en\u00ed.<\/p>\n\n\n\n

\u201eOb\u011b d\u00edla lze nazvat francouzskou lyrikou konce 19. stolet\u00ed. Lze je ov\u0161em tak\u00e9 nazvat hlubokou mystikou, \u00fa\u017easnou symbolikou \u010di v\u0161elidsk\u00fdm poselstv\u00edm,\u201c <\/em>\u0159\u00edk\u00e1 o programu pra\u017eskojarn\u00edho koncertu dirigent Petr Altrichter. \u201eFranck i Faur\u00e9 napsali svou hudbu o du\u0161i a touze, o d\u016fv\u011b\u0159e a nadpozemsk\u00e9 l\u00e1sce. Tento koncert je o \u017eivot\u011b a smrti, o hudebn\u00edm r\u00e1ji.\u201c<\/em><\/p>\n\n\n\n

C\u00e9sar Franck a Gabriel Faur\u00e9 \u2013 dva vynikaj\u00edc\u00ed varhan\u00edci, dlouholet\u00ed pedagogov\u00e9 pa\u0159\u00ed\u017esk\u00e9 konzervato\u0159e a spoluzakladatel\u00e9 a \u010dlenov\u00e9 pa\u0159\u00ed\u017esk\u00e9 Soci\u00e9t\u00e9 Nationale de Musique. Dva skladatel\u00e9, jejich\u017e tvorba byla v z\u00e1sad\u011b velmi rozd\u00edln\u00e1, a p\u0159esto ji spojovala inspirace d\u00edlem Richarda Wagnera a n\u011bco, pro co Francouzi u\u017e\u00edvaj\u00ed term\u00edn int\u00e9riorit\u00e9<\/em> \u2013 niternost. \u201eOd narozen\u00ed C\u00e9sara Francka nav\u00edc v roce 2022 uplyne rovn\u00fdch 200 let, co\u017e n\u00e1m sk\u00fdt\u00e1 skv\u011blou p\u0159\u00edle\u017eitost p\u0159edstavit festivalov\u00e9mu publiku i jeho jindy opom\u00edjen\u00e1 d\u00edla, kter\u00e1 nepochybn\u011b stoj\u00ed za sly\u0161en\u00ed,\u201c<\/em> dod\u00e1v\u00e1 dramaturg Pra\u017esk\u00e9ho jara Josef T\u0159e\u0161t\u00edk.<\/p>\n\n\n\n

To je i p\u0159\u00edpad Franckovy <\/strong>kompozice Psych\u00e9<\/em><\/strong>. A\u010dkoliv je tato symfonick\u00e1 b\u00e1se\u0148 s p\u0159idan\u00fdm sborem pova\u017eov\u00e1na za jeden z vrchol\u016f orchestr\u00e1ln\u00ed tvorby 19. stolet\u00ed, jako celek b\u00fdv\u00e1 uv\u00e1d\u011bna jen v\u00fdjime\u010dn\u011b.Vych\u00e1z\u00ed z antick\u00e9ho m\u00fdtu o lidsk\u00e9 bytosti, kr\u00e1sn\u00e9 princezn\u011b Psych\u00e9, do kter\u00e9 se zamiloval b\u016fh Er\u00f3s. Psych\u00e9 Er\u00f3ta, kter\u00fd ji unesl do sv\u00e9ho pal\u00e1ce, kde ji v noci za tmy nav\u0161t\u011bvoval, nesm\u011bla nikdy spat\u0159it, proto\u017ee by ho tak nav\u017edy ztratila. \u201ePsych\u00e9 v\u0161ak byla natolik \u010dlov\u011bkem, \u017ee stejn\u011b jako Adam v r\u00e1ji cht\u011bla v\u0161e vz\u00edt do sv\u00fdch rukou, v\u0161e pokazila a sv\u016fj r\u00e1j ztratila,\u201c <\/em>\u0159\u00edk\u00e1 Petr Altrichter. \u201eAv\u0161ak Er\u00f3s ji natolik miloval, \u017ee j\u00ed odpustil a vzal ji zp\u011bt,\u201c <\/em>dod\u00e1v\u00e1.<\/em><\/p>\n\n\n\n

Volba t\u00e9matu v po\u0159ad\u00ed \u0161est\u00e9 a posledn\u00ed Franckovy symfonick\u00e9 b\u00e1sn\u011b vzbudila u jeho p\u0159\u00edznivc\u016f a student\u016f men\u0161\u00ed pozdvi\u017een\u00ed. Duchovn\u011b zalo\u017een\u00fd skladatel p\u0159ezd\u00edvan\u00fd \u201epater seraphicus<\/em>\u201c neboli \u201enadpozemsk\u00fd otec<\/em>\u201c byl zn\u00e1m svou z\u00e1libou v biblick\u00fdch t\u00e9matech, jak ukazuje \u0159ada jeho varhann\u00edch kompozic \u010di velk\u00e1 oratorn\u00ed d\u00edla jako Blahoslaven\u00ed<\/em> \u010di R\u00e9becca<\/em>. Neznamen\u00e1 to, \u017ee by se sv\u011btsk\u00e9 t\u00e9matice zcela vyh\u00fdbal, ostatn\u011b jeho p\u0159edchoz\u00ed symfonick\u00e9 b\u00e1sn\u011b vych\u00e1zely z poezie Gottfrieda Augusta B\u00fcrgera a Victora Huga. Zpracov\u00e1n\u00ed \u0159eck\u00e9 legendy v\u0161ak vyvol\u00e1valo \u00fadiv a ot\u00e1zku, pro\u010d si skladatel tuto l\u00e1tku vybral. Vysv\u011btlen\u00ed lze nal\u00e9zt ve vzpom\u00ednk\u00e1ch Franckova \u017e\u00e1ka Vincenta d’Indy, podle n\u011bj\u017e Franck v Psych\u00e9<\/em> nevid\u011bl p\u0159\u00edb\u011bh v\u00e1\u0161niv\u00e9 l\u00e1sky, ale vypr\u00e1v\u011bn\u00ed o vykoupen\u00ed a odpu\u0161t\u011bn\u00ed.  <\/em><\/p>\n\n\n\n

Ani Requiem<\/em> Gabriela Faur\u00e9<\/strong> nelze ozna\u010dit za tradi\u010dn\u00ed. \u201eFaur\u00e9 napsal sv\u00e9 <\/em>Requiem na vlastn\u00ed v\u00fdb\u011br z liturgick\u00e9ho textu,\u201c <\/em>uv\u00e1d\u00ed dirigent koncertu Petr Altrichter. \u201eVr\u00e1til se do po\u010d\u00e1te\u010dn\u00edch dob k\u0159es\u0165anstv\u00ed, kdy je\u0161t\u011b nebylo <\/em>Dies irae. \u010cili \u017e\u00e1dn\u00fd hn\u011bv, \u017e\u00e1dn\u00e1 hr\u016fza a strach, ale smrt byla cestou do <\/em>In Paradisum, jak se naz\u00fdv\u00e1 posledn\u00ed \u010d\u00e1st jeho <\/em>Requiem. <\/em>Dies irae pou\u017eil jen jako kr\u00e1tkou zm\u00ednku, a to je\u0161t\u011b v r\u00e1mci <\/em>Libera me, Domine,\u201c<\/em> vysv\u011btluje.<\/p>\n\n\n\n

 Faur\u00e9ho pojet\u00ed proto Requiem<\/em> nen\u00ed l\u00ed\u010den\u00edm dramatu posledn\u00edho soudu, n\u00fdbr\u017e d\u00edlem nab\u00edzej\u00edc\u00edm \u00fat\u011bchu a klid v\u011b\u010dn\u00e9ho spo\u010dinut\u00ed, co\u017e \u00fazce souvis\u00ed s jeho vlastn\u00edm sm\u00fd\u0161len\u00edm o smrti. Jak se skladatel sv\u011b\u0159il v dopisu Louisi Aguettantovi: \u201eSp\u00ed\u0161e ne\u017e jako bolestn\u00fd z\u00e1\u017eitek vn\u00edm\u00e1m smrt jako radostn\u00e9 vysvobozen\u00ed.\u201c<\/em><\/p>\n\n\n\n

Kompozice nav\u00edc nen\u00ed dedikov\u00e1na \u017e\u00e1dn\u00e9 konkr\u00e9tn\u00ed osob\u011b, jak bylo v p\u0159\u00edpad\u011b rekviem ostatn\u00edch skladatel\u016f zvykem. Faur\u00e9 ji dle sv\u00fdch vlastn\u00edch slov psal \u201ejen tak, pro pot\u011b\u0161en\u00ed \u2013 pokud se to v tomto p\u0159\u00edpad\u011b d\u00e1 v\u016fbec takto \u0159\u00edci\u201c.<\/em><\/p>\n\n\n\n

Petr Altrichter<\/h1>\n\n\n\n

Jeden z\u00a0nejv\u00fdzna\u010dn\u011bj\u0161\u00edch \u010desk\u00fdch dirigent\u016f Petr Altrichter <\/strong>na Pra\u017esk\u00e9m jaru poprv\u00e9 vystoupil p\u0159ed p\u011bta\u010dty\u0159iceti lety.Absolvent konzervato\u0159e v\u00a0Ostrav\u011b (obory lesn\u00ed roh a dirigov\u00e1n\u00ed) ve studi\u00edch d\u00e1le pokra\u010doval na Jan\u00e1\u010dkov\u011b akademii m\u00fazick\u00fdch um\u011bn\u00ed v\u00a0Brn\u011b (obory dirigov\u00e1n\u00ed orchestru a dirigov\u00e1n\u00ed sboru). Mezin\u00e1rodn\u00ed pozornost na sebe upoutal v roce 1976, kdy obdr\u017eel druhou cenu a zvl\u00e1\u0161tn\u00ed cenu poroty na uzn\u00e1van\u00e9 dirigentsk\u00e9 sout\u011b\u017ei ve francouzsk\u00e9m Besan\u00e7onu. Na z\u00e1klad\u011b tohoto \u00fasp\u011bchu se stal asistentem legend\u00e1rn\u00edho V\u00e1clava Neumanna, tehdej\u0161\u00edho \u0161\u00e9fdirigenta \u010cesk\u00e9 filharmonie, co\u017e odstartovalo jeho neoby\u010dejn\u011b bohatou hudebn\u00ed kari\u00e9ru. B\u011bhem n\u00ed stanul v\u00a0\u010dele v\u011bt\u0161iny p\u0159edn\u00edch \u010desk\u00fdch orchestr\u016f v\u010detn\u011b \u010cesk\u00e9 filharmonie, Symfonick\u00e9ho orchestru hl. m\u011bsta Prahy FOK \u010di Filharmonie Brno.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Mezi v\u00fdznamn\u00e9 etapy jeho profesn\u00ed dr\u00e1hy pat\u0159\u00ed jeden\u00e1ctilet\u00e9 veden\u00ed n\u011bmeck\u00e9 Jihoz\u00e1padn\u00ed filharmonie v Kostnici, kde v letech 1993\u20132004 zast\u00e1val funkci um\u011bleck\u00e9ho \u0159editele a \u0161\u00e9fdirigenta. V letech 1997\u20132001 byl z\u00e1rove\u0148 \u0161\u00e9fdirigentem a um\u011bleck\u00fdm \u0159editelem Kr\u00e1lovsk\u00e9ho filharmonick\u00e9ho orchestru v Liverpoolu, s n\u00edm\u017e v roce 2000 vystoupil v lond\u00fdnsk\u00e9 Royal Albert Hall i na Pra\u017esk\u00e9m jaru, kdy festival tak\u00e9 zahajoval se St\u00e1tn\u00ed filharmoni\u00ed Brno. S liverpoolsk\u00fdm orchestrem tak\u00e9 nato\u010dil n\u011bkolik nahr\u00e1vek pro label RLPO Live vysoce cen\u011bn\u00fdch odbornou kritikou.<\/p>\n\n\n\n

\u201ePetr Altrichter jde po emoc\u00edch,\u201c<\/em> napsala pro \u010dasopis Harmonie Dita Hradeck\u00e1 v recenzi na jeho koncert. \u201eBylo zjevn\u00e9, \u017ee Petr Altrichter pronikl a\u017e k sam\u00e9 podstat\u011b t\u00e9to skladby a \u017ee j\u00ed nejen velmi dob\u0159e rozum\u00ed, ale hlavn\u011b \u017ee dovede v\u0161e, co v n\u00ed je ukryto a za\u0161ifrov\u00e1no, zaujat\u011b a p\u0159esv\u011bd\u010div\u011b tlumo\u010dit,\u201c<\/em> uvedl pro tent\u00fd\u017e \u010dasopis V\u011broslav N\u011bmec o jeho nastudov\u00e1n\u00ed \u0160ostakovi\u010dovy Symfonie \u010d. 8.<\/em>  <\/strong><\/p>\n\n\n\n

Petra Altrichtera zvou k hostov\u00e1n\u00ed v\u00fdznamn\u00e9 sv\u011btov\u00e9 orchestry jako London Philharmonic \u010di Berl\u00edn\u0161t\u00ed symfonikov\u00e9. Krom\u011b Pra\u017esk\u00e9ho jara pravideln\u011b vystupuje na festivalech Jan\u00e1\u010dk\u016fv m\u00e1j, Smetanova Litomy\u0161l, Moravsk\u00fd podzim a Bratislavsk\u00e9 hudebn\u00ed slavnosti.<\/p>\n\n\n\n

Eva Horny\u00e1kov\u00e1<\/h1>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u201eJe pro m\u011b velik\u00e1 \u010dest, \u017ee mohu znovu zp\u00edvat na Pra\u017esk\u00e9m jaru v d\u00edle, kter\u00e9 je pln\u00e9 lidsk\u00e9 pokory, hloubky, p\u0159ijet\u00ed \u017eivota a smrti,\u201c<\/em> \u0159\u00edk\u00e1 o sv\u00e9m \u00fa\u010dinkov\u00e1n\u00ed ve Faur\u00e9ho Requiem<\/em> sopranistka Eva Horny\u00e1kov\u00e1<\/strong>.<\/p>\n\n\n\n

Roda\u010dka ze slovensk\u00e9 Levo\u010de je absolventkou konzervato\u0159e v Ko\u0161ic\u00edch, Vysok\u00e9 \u0161koly m\u00fazick\u00fdch um\u011bn\u00ed v Bratislav\u011b a p\u011bveck\u00fdch kurz\u016f pod veden\u00edm Petra Dvorsk\u00e9ho a Zlatice Livorov\u00e9.<\/p>\n\n\n\n

Debutovala v roce 2006 jako hrab\u011bnka v Mozartov\u011b Figarov\u011b svatb\u011b<\/em> na p\u00f3diu Slovensk\u00e9ho n\u00e1rodn\u00edho divadla, kter\u00e9 se n\u00e1sledn\u011b stalo jej\u00ed domovskou sc\u00e9nou.<\/p>\n\n\n\n

Ve stejn\u00e9m roce se probojovala do semifin\u00e1le sout\u011b\u017ee Competizione dell`Opera v Dr\u00e1\u017e\u010fanech. Mezi jej\u00ed dal\u0161\u00ed sout\u011b\u017en\u00ed \u00fasp\u011bchy pat\u0159\u00ed \u00fa\u010dast v semifin\u00e1le Maria Callas Grand Prix v At\u00e9n\u00e1ch (2009) a fin\u00e1le mezin\u00e1rodn\u00ed sout\u011b\u017ee v Bayreuthu a Mezin\u00e1rodn\u00ed p\u011bveck\u00e9 sout\u011b\u017ee Hanse Gabora Belvedere ve V\u00eddni.<\/p>\n\n\n\n

Mezi jej\u00ed profilov\u00e9 role pat\u0159\u00ed krom\u011b jin\u00fdch Desdemona (Othello<\/em>), Violetta (La traviata<\/em>), Rusalka (Rusalka<\/em>), Ma\u0159enka (Prodan\u00e1 nev\u011bsta<\/em>), Donna Elv\u00edra (Don Giovanni<\/em>), a tak\u00e9 Mimi (Boh\u00e9ma<\/em>), ji\u017e ztv\u00e1rnila ve \u0161pan\u011blsk\u00e9m m\u011bst\u011b La Coru\u00f1a, v n\u011bmeck\u00e9m Staatstheater Braunschweig, ve St\u00e1tn\u00ed ope\u0159e v Bansk\u00e9 Bystrici, s Operou SND na opern\u00edm festivalu Pafos Aphrodite na Kypru a na podzim roku 2010 v mezin\u00e1rodn\u00ed produkci v Japonsku.<\/p>\n\n\n\n

Je \u010dast\u00fdm hostem N\u00e1rodn\u00edho divadla v Praze. Jako\u017eto koncertn\u00ed um\u011blkyn\u011b spolupracuje s dirigenty, jako je nap\u0159. Juraj Val\u010duha, pod jeho\u017e veden\u00edm se Slovenskou filharmoni\u00ed uvedla Beethovenova Egmonta<\/em> a Gloria<\/em> Francise Poulenca. \u201eEva Horny\u00e1kov\u00e1 p\u0159ednesla sv\u00e9 vok\u00e1ln\u00ed vstupy proc\u00edt\u011bn\u011b a s p\u0159\u00edslu\u0161nou d\u00e1vkou stylov\u00e9 \u010distoty,\u201c<\/em> napsal o n\u00ed Ivan Marton v recenzi pro web KlasikaPlus.<\/p>\n\n\n\n

Mezi jej\u00ed dal\u0161\u00ed spolupracovn\u00edky pat\u0159\u00ed Jakub Hr\u016f\u0161a a jeho Bamber\u0161t\u00ed symfonikov\u00e9, spolu s nimi\u017e na presti\u017en\u00edm Edinbursk\u00e9m festivalu v roce 2018 uvedla Dvo\u0159\u00e1kovo Requiem<\/em>. <\/p>\n\n\n\n

S Petrem Altrichterem a \u010ceskou filharmoni\u00ed spolupracovala v leto\u0161n\u00ed sezon\u011b na proveden\u00ed oratoria Svat\u00e1 Ludmila<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Leto\u0161n\u00ed ro\u010dn\u00edk Pra\u017esk\u00e9ho jara v\u011bnuje v\u00fdznamnou pozornost jubileu belgicko-francouzsk\u00e9ho romantika C\u00e9sara Francka (1822\u20131890). Jeho monument\u00e1ln\u00ed symfonick\u00e1 b\u00e1se\u0148 se sborem Psych\u00e9 zazn\u00ed v pod\u00e1n\u00ed \u010cesk\u00e9 filharmonie a Petra Altrichtera ve \u010dtvrtek 26. kv\u011btna v pra\u017esk\u00e9m Rudolfinu. Franck vych\u00e1zel z antick\u00e9ho m\u00fdtu o lidsk\u00e9 bytosti, kr\u00e1sn\u00e9 princezn\u011b Psych\u00e9, do kter\u00e9 se zamiloval b\u016fh Er\u00f3s. Ov\u0161em skladatel v Psych\u00e9 nevid\u011bl p\u0159\u00edb\u011bh v\u00e1\u0161niv\u00e9 l\u00e1sky, ale vypr\u00e1v\u011bn\u00ed…<\/p>\n","protected":false},"author":1,"featured_media":11252,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[392,168,383,998],"tags":[1316,1317,491],"class_list":["post-11243","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hudba","category-concerts-cs","category-kultura","category-novinky","tag-eva-hornyakova","tag-petr-altrichter","tag-prazske-jaro"],"_links":{"self":[{"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/posts\/11243","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/comments?post=11243"}],"version-history":[{"count":2,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/posts\/11243\/revisions"}],"predecessor-version":[{"id":11257,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/posts\/11243\/revisions\/11257"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/media\/11252"}],"wp:attachment":[{"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/media?parent=11243"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/categories?post=11243"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/orer.eu\/cs\/wp-json\/wp\/v2\/tags?post=11243"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}