FRANTIŠEK ANTONÍN MÍČA: THE ORIGIN OF JAROMĚŘICE IN MORAVIA
Ensemble Damian & Tomáš Hanzlík

Atto I. – CD1 62:22
1 Introdutione – Presto, Adagio, Menuet 4:13
2 Recitativo: Ach, k hněvu ano pomstě 2:55
3 1- Aria: Jako ptáček – Hedvika 6:00
4 Recitativo: Snad vzhlédnutí na bratra svého 1:24
5 2- Aria: Tenkrát zlatým písmem – Gualterus 4:32
6 Recitativo: Jaký konec povětří 1:17
7 3- Aria: Tys život duše mé – Drahomíra 7:28
8 Recitativo: Tuž se jen srdce mé 0:18
9 4- Aria: Líbezně jest políbiti – Otakar 4:04
10 Recitativo: Vidíš, sestro milá 4:28
11 5- Aria: Tvá dobrotivost – Hedvika 4:31
12 Recitativo: Mé štěstí zlému tvému 1:36
13 6- Aria: Kdo ústa má věrné – Genovilda 5:39
14 Recitativo: Hedviko, již mně odpusť 0:30
15 7- Aria: Kdo nezkusil – Fridegildus 4:48
16 8- Duetto: Ó, potvoro – Hajdalák, Bumbalka 1:05
17 Recitativo: Kýž tě kat jednou vezme 0:15
18 9- Duetto: Již mně hněv jde do očí – Hajdalák, Bumbalka 2:02
19 Recitativo: Kýž chceš jednou zahynouti 1:50
20 10- Duetto: Líbezný nápoj – Hajdalák, Bumbalka 3:18

Atto II. – CD2 60:25
1 Recitativo: Tys můj milovník 1:44
2 11- Aria: Oči tvé – Gualterus 3:38
3 Recitativo: V nejudatnějších srdcích 0:57
4 12- Aria: Jeho vidět – Hedvika 4:36
5 Recitativo: Chotí mám být ukrutníka 1:38
6 13- Aria: Srdce se jen třese – Genovilda 4:36
7 Recitativo: Nejní jista naděje 3:31
8 14- Aria: Líbezně zacházet budu – Drahomíra 3:35
9 Recitativo: Velmi těžce přichází 1:04
10 15- Aria: Již hoří jasností – Otakar 3:52
11 Recitativo: Sem zase svobodný 0:47
12 16- Aria: Ach, jestli tebe mám ztratiti – Fridegildus 5:12
13 Recitativo: Tento užitečný den 1:02
14 17- Aria: Když řeka se rozvodní – Gualterus 3:18
15 Recitativo: Neměň se, přítelkyně 1:55
16 18- Aria: Darmo se nestarám – Genovilda 5:18
17 Recitativo: Bez potejkání 0:34
18 19- Aria: Když spojenou horkostí – Hedvika 2:45
19 20- Aria: Já jsem plna veselosti – Bumbalka 3:00
20 Recitativo: Ó má zlatá Bumbalko 1:02
21 21- Aria: Skrz zásluhy svého otce – Hajdalák 2:26
22 Recitativo: Kdopak bude se mnou již promluviti hoden 0:44
23 22- Duetto: Každou nazvu kanálií – Hajdalák, Bumbalka 3:01

Atto III. – CD3 58:00
1 23- Coro: N:a věčnou památku 5:18
2 24- Coro: Nemohl by šťastnější být 3:34
3 Recitativo: Do zbraně! 0:25
4 25- Aria: Žití raději bych se vzdala – Hedvika 4:40
5 Recitativo: Hedvika se jako první 0:39
6 26- Aria: V mé tváři – Gualterus 3:19
7 Recitativo: Nemohu přihlížet tomuto šílenství 1:16
8 27- Aria: Důkazem lásky – Drahomíra 7:50
9 Recitativo: Mírová ratolest 0:41
10 28- Aria: Bouře blesky – Otakar 4:02
11 Recitativo: Nebývá běžné 0:48
12 20- Aria: Já vím – Genovilda 5:13
13 30- Aria: Hleď na list tento – Hajdalák 1:41
14 Recitativo: Mám ještě pochybnost 0:37
15 31- Aria: Mé penízky – Bumbalka 2:39
16 Recitativo: Pokud chceš být po mém boku 0:27
17 32- Duetto: Příkladů měla bych kopy – Hajdalák, Bumbalka 1:26
18 Recitativo: Příliš smělé rozhodnutí 2:03
19 33- Aria: Nenávist mrzká – Fridegildus 4:11
20 Recitativo: Hedviko prozraď 3:07
21 34- Coro: Do tvých rukou 3:54

Ensemble Damian
Gualtero – tenor – Ondřej Benek
Hedvika – soprano – Helena Kalambová
Genovilda – alto – Kristina Beyhan
Fridegildo – tenor – Štěpán Binar
Drahomíra – soprano – Hana Holodňáková
Otakar – bass – Martin Vacula
Bumbalka – soprano – Juliana Synková
Hajdalák – bass – Jiří Poláček

Orchestra: Jiří Sycha, Daniel Podroužek, Viktor Tomek, Simona Tydlitátová, Jonáš Kolomý, Martin Dostál – violins; Zdeňka Hájková, Matěj Klimeš, Jan Čermák/Jakub Verner – violas; Ondřej Klimeš – cello, Matyáš Berdych – double bass, Marek Kubát – archlute, Jiřina Marešová – harpsichord, chamber organ

Ideový koncept: Johann Adam Questenberg
Music: František Antonín Míča
Libreto: Antonín Ferdinand Dubravius
Libreto of the III. part: Marek Řihák
Artistic leader: Tomáš Hanzlík
Recorded October and November 2024 in the ZUŠ hall, Taussigova, Prague.
Musical direction and soung engineer: Pavel Kunčar

The Origin of Jaroměřice in Moravia
     This three-act opera, a setting of a heroic legend about a slain stag and the founding of the city Jaroměřice nad Rokytnou, was originally composed to an Italian libretto (L’origine di Jaromeriz in Moravia – The Origin of Jaroměřice in Moravia). In the archive of the Gesellschaft der Musikfreunde in Vienna, only Act I and Act II of the autograph score have been preserved, and a Czech version of the text appears beneath the Italian. The work is regarded as the oldest preserved opera to have been performed in the Czech language. The Czech libretto for Act III was based on a period printing of the Italian libretto by Giovanni Domenico Bonlini and a printing of its translation into German by Heinrich Rademin. The music for this new text was created as a pasticcio or paraphrase of parts of preserved serenades, sepolcri, and sacred duets by Míča. It has now become possible to give the reconstructed opera its modern-era staged premiere.

Synopsis:
     Act I
Gualterus is captured by the Silesian princess Hedvika, who has come to avenge herself on him for having imprisoned her brother Fridegildus, but the moment that she looks into her enemy’s eyes, she is consumed with love for him. Gualterus, however, has already been promised to Genovilda, the daughter of the Bohemian king. The moment that Fridegildus is released from prison, he wants to take revenge on Gualterus. His sister, being in love with Gualterus, dissuades Fridegildus from taking revenge. Fridegildus is grieving, having fallen love with Genovilda during his captivity, and she is likewise enamoured with him.

     Act II
Gualterus and Hedvika show their love for each other. Gualterus’s faith in Hedvika’s goodness disturbs the peace of mind another Moravian prince, Otokar, who is supposed to marry Gualterus’s sister Drahomíra. She reminds her future husband that love conquers all. Hedvika is troubled by the fact that Gualterus is supposed to go to the altar with a different woman—Genovilda, but Genovilda confides in Hedviga that she is in love with Hedviga’s brother Fridegildus, so Hedvika becomes hopeful her love will find happy fulfilment.

     Act III
At the command of Prince Gualterus, work begins on building a new city—Jaroměřic. Gualterus rejoices over the joining of two countries, Moravia and Silesia. The contemplation of romance is interrupted by the news that Fridegildus is preparing to attack Moravia. While the men (Gualterus and Otokar) want to go to war, the women calm them down and choose the path of peace. Hedvika persuades her brother to talk with Gualterus—the ransom for peace is to be the blessing of his marriage to his original fiancée Genovilda. Gualterus and Genovilda embrace—all of the couples are happy, peace reigns in their countries, and the newly established city Jaroměřice merrily celebrates four weddings.

     Intermezzo
Hajdalák and Bumbálka are representatives of people who belong to the lower class but who want to climb the social ladder as high as possible. While Hajdalák is trying to earn a higher standing, his fiancée, who overindulges in alcohol, shows him the tricks and practices used for getting to the top without having to work hard whilst enjoying oneself thoroughly.

     Johann Adam Questenberg was born on 23 February 1678 in Vienna. His parents both died when he was eight years old. He completed his law studies in Prague in 1696, gained the hereditary title of count, and departed on a three-year Grand Tour of Europe. In 1699 he returned to Vienna, and in 1702 he entered into service at court. On 8 March 1707 in Vienna, he married the 16-year-old Maria Antonia von Waldburg, Friedberg und Scheer. The countess was exceptionally beautiful, but the marriage was not especially happy. The count already had to bear considerable expenses for the improvement of the estate, and his wife’s extravagance and debts brought the count to the brink of bankruptcy in the 1730s, damaging his reputation. The countess owed considerable sums of money literally everywhere. In a letter dated December 1711, the count complained to his secretary in Vienna: “The misfortune I am faced with this time, that my countess has lost her child, is the will of God, to which I must submit in accordance with my duty. She herself, however, is the chief cause of all of the problems that have heretofore befallen us, being so capricious as to reject any command or counsel (…). It truly seems that she would gladly bring my house and position to ruin (…). Moreover, I publicly bear all of this misfortune myself (…). It is hard for me to bear the kinds of lies people invent against my honour and reputation (…). Marriage, though it could be a source of pleasure for me, is causing me such grief (…)”. The art historian and lawyer A. Plichta even hints that the countess may have been having an affair with Jan Jakub Frey–Svoboda, Míča’s predecessor as kapellmeister from 1715 to 1720. At the time, the count was having Maria Antonia followed. The kapellmeister Svoboda disappeared without a trace; the count recorded his death in the list of subjects in Jaroměřice in his own hand without stating when or why it had occurred, and the page for the Frey-Svoboda family was cut out of the registry of subjects... We do not, however, have any direct evidence that the countess committed adultery with the count’s chamberlain and kapellmeister. On the other hand, we do have documentation that the countess apparently also suspected her husband, or else she simply wanted to pay him back for having had her under surveillance. In January 1733, Questenberg’s Viennese majordomo Hoffman wrote to the count in Rapoltenkirchen: “The countess has just decided to depart for Rapoltenkirchen, but she has forbidden me to tell you about it because she wants to ambush you. In accordance with my duty, however, I am obediently informing you in advance that the countess will be in Rapoltenkirchen tomorrow around noon together with Miss Carolina and Miss Stonn.” The only of his three sons and three daughters to survive to adulthood was his fourth child, Maria Carolina, who was baptised on 4 November 1712.
     Maria Antonia von Questenberg died in November 1736. On 14 April 1738, the count married his second wife, Countess Maria Antonia von Kounitz, who was 30 years younger than him. Another wedding took place on 28 December: Questenberg’s daughter Marie Carolina married Count Presgott Kauffstein, a colonel in the imperial army. In 1740, the count began selling his property to pay off at least some of his debts. The last years of his life were filled with worries over his heir. His daughter Maria Carolina died at the age of 38 on 27 March 1750 in Vienna and left no offspring. To honour her memory, the count had the opera Euridice performed (Holzbauer, Jomelli, Galuppi, Bernasconi, Wagenseil). His second marriage was to remain childless despite all the couple’s efforts. The count began inquiring into the offspring of his sister, but the countess insisted that only members of the Kounitz family could become his heirs. This led to a dispute between the count and his wife, but in the end, his will left all his property to his wife’s brother Wenzel Anton von Kounitz on the condition that he add the Questenberg family’s name and coat of arms to his own. In 1750, the count had a luxurious caravan purchased in Vienna, and it was placed in the Jaroměřice castle garden, where he was spending most of his time. The count died on 10 May 1752 after about three months of illness. His second wife outlived him by 26 years.

     František Antonín Míča (1696–1744), born in Náměšti nad Oslavou on 2 September 1696, was one of the most important composers in Moravia in the first half of the 18th century. His father was the organist Mikuláš Míča, who settled permanently in Jaroměřice nad Rokytnou after having worked in Třebíč and briefly in Náměšti. There, his family became one of the mainstays of the rich musical life that emerged in the little Moravian town at the initiative of Count Johann Adam von Questenberg. He made a major contribution towards Moravia becoming a very important centre for opera performing in the first half of the 18th century and towards making Jaroměřice an important musical and cultural centre. There is documentation of nearly 200 performances of musical dramas in Jaroměřice from 1722 to 1752. František Antonín Míča’s chief task was to rehearse most of the musical works performed in Jaroměřice. He had begun exhibiting musical talent early; already at 15 years of age in 1711, he was listed as being employed as a musician in the service of Questenberg’s palace in Vienna, the capital of the Habsburg monarchy. So far, however, it has not been possible to document his training as a composer and singer as, for example, a student of one of the members of the court ensemble in Vienna. Despite his obvious musical talent, the position of kapellmeister at Questenberg’s court was not originally assigned to him, but instead to the son of the Jaroměřice rector Jan Jakub Frey. However, after that promising musician’s sudden death, Questenberg selected František Antonín Míča who definitely proved to be a good choice; the reliable Míča stayed on as the kapellmeister and chamberlain until his death despite the ill health he suffered towards the end of his life. Alongside the majordomo and superintendent, the position of chamberlain was one of the top posts at the count’s court; Míča served as the count’s de facto secretary.
     In addition, František Antonín Míča’s duties included the adapting of scores for the performing conditions in Jaroměřice, and he also took part in the staging of works being performed. All of this was done in accordance with Questenberg’s intentions because the count’s word was always final when performances were being prepared. Míča was also an excellent tenor, as is documented by the numerous roles in which he appeared. As was customary at the time, he mainly composed works of a panegyrical character, intended for celebrations of the name days and birthdays of members of Questenberg’s family, as well as sepolcri—passion oratorios performed at church before a temporary replica of the Holy Sepulchre. The Origin of Jaroměřice in Moravia is Míča’s only partially preserved opera.

Jana Perutková