Dalibor is a hero : the chorus "Dalibor! Dalibor" rings out with fervour, picked up wordlessly by the orchestra throughout the opera. Jitka, a country girl (Alžběta Poláčková) (tells us how he saved her as an oprphan. Already though, we have a hint of his otrherworldy purity. She sings as though she's descring a saint. Wonderful "processional" music, marks the entry of Vladislav, the Czech King, (Ivan Kusnjer).. Bělohlávek has being bringing the top singers from the Prague National Theatre, which he's been conducting for years, so these singers are now greeted in London as if theu were familiar friends. Besi8des, they can sing Czech repertoire better than anyone else. Kusnjer's voice rang with dignity. Like Pontius Pilate, this King doesn't want to kill, but Milada the Burgrave's sister wants revenge.
Dana Burešova sang Milada. She's another much loved regular visitor. Ten years ago, I saw her after a performance of Janáček: The Excursions of Mr Brouček walking alongbthe Barbican tunnel, carrying her suitcase and a huge bunch of flowers. She also sang the female lead in The Jacobin, The Bartered Bride and most of Bělohlávek's other London performances of Czech opera. Milada is a forceful lady, and Burešova's magnificent singing does her justice. The part calls for great vocal contril, for the lines ring out with the intensity of a trumpet call, though Milada's femininity is underlined by lustrous harp. Later Milada disguises herself as a harp-playing minstrel to charm her way into the prison.
Dalibor himself (Richard Samek) is more of an enigma. He killed the Burgrave because the Burgrave killed his friend ZDenek, whic doesn't appear in the opera, but lingers, ghost-like, in the strings. Zdenek was a violinist, and Dalibor's love for him is so great that he'd rather be dead than live without him. Nonetheless, when he meets Milada, his love suddenly switches to her (on Zdenek's musical messages). Dalibor's a violnist, too. We don't hear him play but we hear the violins in the orchestra surround him in a halo of sound. The smooth legato in his part suggests a bow gliding over strings. Beneš the jailer ( Jan Stava), also a violinist, lets him have his old instrument to pass the time, which Milada delivers. The violin is thus the means by which Dalibor could escape from the dungeon. If he wished, of course, because he doesn't. When and thus to while the time away "Czechs love music", the libretto explicitly states, the violin them picked up in the orchestra. When he's caught by Budivoj (Svatopluc Sem, another regular) and told he's to be executed, he's meekly accepting. Perhaps he knows that his real secret weapon isn't his life but his music.
"We Czechs love music" the text explicit states, so the whole opera is a coded protest, though the Hapsburg Empire ended only with the end of the First World War. Dalibor is wildly popular in Czech-speaking areas but the message is universal. When Gustav Mahler conducted Dalibor in Vienna in 1892, he may also have been making an private statement. Mahler was a boy from small town Bohemia, where his father had followed the same profession as Smetana's father had done nearly 100 years before. Unlike Smetana, Mahler made it to the capital of the Hapsburg empire, chosen and protected by the Emperor himself. Much is made of Mahler's use of Ländler, reflecting the sounds he would have grown up with in a German-speaking area in the provinces. Mahler had been writing since his teens on themes connected to Des Knaben Wunderhorn, even writing his ow poems. Almost certainly he would have been aware of Smetana In Dalibor, for example, Jitka and Vitek (Aleš Voráček) sing a love duet which could come straight out of Wunderhorn, though it's clearly Czech. Dalibor is clearly inspired by Beethoven Fidelio, although musically it's very different. But might Mahler have thought of Dalibor when he wrote Das Lied des Verfolgten im Turm "Die Gedanken sind frei.! "
Original Content: Smetana Dalibor Barbican Bělohlávek