{TABLE} Sarka ........... Fibich {/TABLE} THE Czech Zdenek Fibich (1850-1900) is the least well known of the three composers represented in the main operatic programme of this year's Wexford Festival Yet Sarka, his best known piece has managed to keep itself before the public for longer than either of the other offerings by Donizetti and Meyerbeer. One of the two commercial recordings of Sarka has just been reissued on CD, and Hippodamia, his trilogy of stagemelodramas (spoken text with music), has just been recorded for the first time.
His extensive involvement with melodrama was not Fibich's only unusual musical venture. Towards the end of his life he compiled a musical diary of 376 short piano pieces, Moods, Impressions and Reminiscences, charting in graphic detail his affair with Anezka Schulzovi. Their involvement was also a creative one. She provided the libretto for Sarka, which was completed in 1897, and some of the piano pieces found their way into the music of the opera, too.
The subject matter of Sarka is the Czech legend of the "maiden's war". After a loss of power, occasioned by the death of the prophetess Libuse (founder of Prague), the maiden warriors, led by Vlasta and Sarka, are in revolt. The focus of their anger is the knight, Ctirad. While engaged in a ploy to entrap him Sarka, instead, falls in love, and turns traitor. She cannot, however, live with the consequences of her actions and takes her own life.
Inga Levant's Wexford production draws out the conflicts - and attractions - with stark symbolism, solidly reinforced by Charles Edwards's corraling set and often saturated lighting. With the exceptions of the Miss Moneypennyish get up of Vlasta (Denisa Slepkovska) and the African witch doctor attire given to the high priest, Vitoraz (Richard Rob son), Brigitte Reiffenstuel's costume designs are also evocatively effective.
The Bulgarian soprano Svetelina Vassileva, with an exciting Slavic edge to her voice, is an ardent, headstrong Sarka. She is well matched by the Ctirad of the Slovakian tenor Ludovit Ludha, whose thin, penetrating tone rides climaxes with surprising ease.
The Russian baritone Anatoly Lochak is a magisterially calming Piemysl, and the aggressive group of warrior maidens (Giuseppina Piunti, Juliet Booth, Giselle Allen, Margareta Hillerud, Kim Marie Wood house and Cinzia de Mola) make some very striking contributions, as indeed does the Wexford Festival Chorus (which, as last year, is largely Czech in line up). Conductor David Agler's musical handling is more robust than subtle, though the music (some notable reminiscences of other men's work notwithstanding) still speaks in vividly variegated emotional tones. A timely and impressive revival.
