| Operas by Johann Strauss II |
|---|
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Indigo und die vierzig Räuber (1871) |
Ritter Pázmán (Knight Pazman) is the name of a three-act opera composed by Johann Strauss II, with the libretto by Ludwig Dóczi. It first premiered at the Hofoper in Vienna on New Year's Day in 1892.[1][2] It is based on a Hungarian narrative poem, Pázmán lovag, written by the Hungarian poet János Arany,[3] and takes about three hours to play its course.
Contents |
| Role | Voice type | Premiere Cast, 1 January 1892 (Conductor: Johann Strauss II) |
|---|---|---|
| Pázmán | bass | Franz von Reichenberg |
| Eva | mezzo-soprano | Marie Renard |
| Gundy | contralto | |
| Karl Robert of Anjou | tenor | |
| Mischu | tenor | |
| Omodé | tenor | |
| Rodomonte | baritone | |
| The queen | soprano |
Ritter Pázmán is staged in Renaissance Hungary. The first two acts are staged at the country castle of the opera's main character, Ritter (Knight) Pázmán. The knight's wife and servants are hurrying to prepare a meal to welcome Pázmán and his band on their way back from the hunt. One of the hunters falls in love with the knight's wife, and kisses her on the forehead when the husband is not looking. Later, after the hunter leaves, Pázmán finds out about the kiss, and, having cursed his wife, goes to the king to demand justice.[4] In act three, the action moves to the king's castle, to which the knight was followed by his wife and maid. He insists that he be allowed to kiss the hunter's wife as revenge. The king then says that he was the one who kissed Pázmán's wife. Pázmán is then allowed to take a kiss from the queen.[4]
When the opera's debut was announced, it was met with great enthusiasm, as was the case with most of Strauss' works, and it attracted special attention because it was Strauss' first (and only) opera. However, at its premiere, it was received coldly, and most critics predicted that it would not last long at the opera house.[4] The Vienna Opera played it only nine times. Critics complained about the banality of the opera's text, and a reviewer for the Wiener Abendpost commented that the characters were not distinguished enough musically.[4] Others said that the opera died of "acute text failure".[5] Some critics, however, such as Richard Heuberger, noted that the instrumentation of the opera was commendable, especially Strauss' use of the dulcimer in the csárdás.[4]