Die Bedeutung der Handwerkerrechnungen und Bierdeputate für den Opernbetrieb des Jarmeritzer Schlosstheaters in der ersten Hälfte des 18. Jahrhunderts

Název: Die Bedeutung der Handwerkerrechnungen und Bierdeputate für den Opernbetrieb des Jarmeritzer Schlosstheaters in der ersten Hälfte des 18. Jahrhunderts
Variantní název:
  • The importance of workmanship and "bierdeputate" accounting documents for operatic performances at Jaroměřice castle theatre in the first half of the 18th century
Zdrojový dokument: Musicologica Brunensia. 2015, roč. 50, č. 2, s. [3]-14
Rozsah
[3]-14
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Článek
Jazyk
Licence: Neurčená licence
 

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Abstrakt(y)
This study broadens knowledge about the appearance of Jaroměřice castle theatre during the reign of count Johann Adam von Questenberg and about the frequency of Jaroměřice theatre's performances as well. There is unambiguous evidence that the first performance was held at this theatre as early as 1722. Moreover, thanks to the accounting documents by Jaroměřice's joiner Matthias Stöhring it was discovered which opera was performed in front of the Imperial Court members in 1723. The title of that opera was Archelao re di Cappadocia by the composer Francesco Bartolomeo Conti. The mentioned work had been performed for the first time one year earlier for the Imperial Court in Vienna. The originally used stage was moved to Vienna in 1724 and was followed by an installation of a new modern stage in Jaroměřice. Within the presented study the further adjustments and reconstructions of the theatre hall are observed up to the year 1739. From Stöhring's accounts we know not only the number of dramatic performances but for some years, we are able to find out even particular dates and genres. We are also able to reveal valuable information about Jaroměřice theatre's machinery. In 1730s, there were always 9 joiners, 4 – 9 carpenters and 3 – 4 auxiliary boys taking part in each performance. This staff included usually 2 – 3 "gerichts diener". The number of extras was variable according to the genre; for comedies there were mostly 4 – 6 extras, for operas 22 – 33. It is obvious that not all preserved questenbergian sources have been fully evaluated yet. Interdisciplinary cooperation in the problematic of the Jaroměřice castle theatre will bring further information about this remarkable phenomenon, which is interesting not only in the context of Bohemian lands, but also for history of opera in the Central Europe.