Can you introduce yourself, and talk about your current musical responsibilities?
I am Mária Porubčinová, and I studied singing at the Academy of Performing Arts in Bratislava. Currently, I am mostly performing in Slovakia, although in the past, I have also worked in the theatre in Germany.
The past season 2023–24 was full of challenges: performing at the Slovak National Opera Bratislava, and the Slovak State Opera, in the operas Aida, Rusalka, Andrea Chénier… And then a challenge of enormous proportions came from the Prague National Theatre: the role of Libuše.
As with any leading role, it brought with it a whole series of doubts and dilemmas. But I consider myself a person who loves a challenge, and I am incredibly grateful for this one. I’m glad I got it and rose to it!
For those who haven’t come across it before, can you give a brief introduction to Bedřich Smetana’s Libuše?
Libuše is a festive opera originally written for the coronation of Franz Josef at the end of the 19th century. However, as the coronation didn’t occur, Libuše was first performed at the ceremonial opening of the National Theatre in 1881. The work is dramatic and, as can be heard, inspired by Wagner.
Smetana recommended that this work be performed only on special occasions, giving the piece even more weight and lustre. The story runs through three acts and reveals the story of Queen Libuše in all her trappings: as a ruler, as a woman, as the protector and mother to her beloved nation.
The story concerns a dispute between two brothers, which Queen Libuše has to resolve. After a just verdict, the elder brother insults Libuše as a woman and a ruler. After this insult, Libuše decides that a man must rule in her stead, choosing Přemysl, a farmer from Stadice. The second act begins at the estate of the father of the quarreling brothers, where we see the reconciliation of one brother Chrudoš with his love interest Krasava, who had been feigning love for his brother to increase his jealousy. In this act, we also see the beautiful and lyrical dimension of the farmer Přemysl, who thinks of Libuše in the shade of the linden tree. He also learns that he will be the new Prince and goes to Vyšehrad.
The last act comes full of reconciliation, emotion, and a strong message of Prophecy for the Czech nation.
Libuše is one of several operas Smetana began in the 1860s, the first composed in the Czech language. How does the opera fit into this context?
I think that Libuše, of all Smetana’s works, comes closest to Wagner’s declamatory operatic language. The leading role is sung quite differently from, for example, Mařenka from The Bartered Bride or Vendulka from The Kiss. The style of writing and musical thinking is more complicated, and I, as a performer, often have to find musical support so that I don’t get lost in the melody. I enjoy that immensely. The fact that Smetana creates so many unexpected harmonies – it’s a huge lesson in musical perception. It’s a shame that the whole world doesn’t know this opera because they would love it!
What impression did the work make on you when you first heard it?
I’ll admit quite openly that I first heard this opera in college and then listened again to the whole thing when I got that incredible offer from the National Theatre. Of course, I have seen Eva Urbanová singing the Prophecy, from the opera’s conclusion, several times and have frequently heard the fanfare on state occasions in the Czech Republic. The music was fascinating to me and something so distant from one’s normal fast pace of life.
What is it like to perform? Are there notable difficulties in staging the work?
This is the dilemma of almost every listener, critic, conductor, and performer. The range of possibilities is enormous. A major challenge the leading soprano has to face is to manage her strength over the course of the performance, so that the final Prophecy is the highlight of the entire opera.
Taking on the role of Libuše has been different than it has been for other roles. For example, I knew I could sing Rusalka, and I studied recordings or sheet music with an idea. It was pretty different with Libuše. The offer from Robert Jindra and the National Theatre caught me off guard and shocked me. Their risk, courage, and trust; I am incredibly grateful to them for it. Just imagine that in the Czech Republic, an almost unknown singer could be entrusted with this jewel of Czech music. Even for ordinary people, who are hardly fans of opera, this music is a source of national pride. And that moves me so much and binds me every time I go on stage.
I was born in Czechoslovakia, half of my family lives in Bohemia, and my mother was born here, so the final words of Libuše – that the Czech nation will not die and will overcome all the horrors of hell – evoke a great inner pride and emotion for me.
Is there a recording, or a memory of a performance that is particularly special?
Yes, since I am far from reaching the range of the singers such as Eva Urbanová, Naděžda Kniplová, or Milada Šubrtová. I listened to a recording with Gabriela Beňačková, who was already my role model for Rusalka or Mařenka. But in the end, the singer herself has to find their own way – a way to grasp the character comprehensively. It took me quite a long time and the whole process is of course still going on. Each opera character is a constant vocal-technical and interpretive process. That is the most magical thing about live art.
Do you have a favourite passage in the opera?
I have already mentioned the most substantial passage above, the Prophecy at the conclusion of the opera – it’s chilling, and one is hypnotized in it. But everything Libuše sings has charm, a message, and wisdom. I adore her character, kindness, wisdom, humility and stability.
Traditionally, Libuše was interpreted as heroic and statuesque, but neither I nor my voice is quite like that. In the story, Libuše is both glorified and reviled, she is in love, she is a fierce and forceful ruler, and a humble mother to the nation who knows how to step back for the good of the cause. Just a wise and kind being: that’s what I want the viewer to feel about her.
Where does Libuše fit in Smetana’s overall output? What makes it distinctive?
Of course, it is different, especially in its libretto. It is historical and distant to us, even to Smetana’s contemporaries. Furthermore, its exceptionality is determined by the composer’s own intentions, that the opera should be presented only on special occasions and was created for such. None of his operas are so majestic and monumental. It is a celebration of the nation, pride, and national feeling.
This opera isn’t about relationships heated to the maximum, as is usual. Rather, the disputes in the story illustrate human weakness – I think the primary mission is to show the enormous power of forgiveness and dialogue, even at the highest levels. And that seems to be incredibly relevant.
What guidance would you give to listeners and performers new to Smetana’s music? Why come to hear a performance of Libuše?
The wonderful thing about Smetana is that you can find a cure for every pain with his music. It can awaken every vein in you and make all your senses dance. Whatever you listen to, you can’t go wrong. For example, I can’t even be without his Má vlast during long car journeys. It is a perfect work that can stimulate your imagination and soothe your soul. That’s how his entire work is really.
Mária Porubčinová sings Smetana’s Libuše at Prague National Theatre from 28th October.
This article was sponsored by the Year of Czech Music.
