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„Obcy na własnej krainy swej łonie”1? Paria na tle twórczości operowej Stanisława Moniuszki. Szkic
Dominika Szymocha
Abstract
‘Foreign in their own land’? ‘Paria’ (‘The pariah’) against the background of Stanisław Moniuszko’s operatic output: A sketch Stanisław Moniuszko’s Paria (‘The pariah’) is perceived today through the prism of what was written about it around the turn of the twentieth century. The opinions formulated about this opera at that time were not particularly positive. Commentators sought to show that this work had nothing in common with the other operas written for the Warsaw stage by Moniuszko. Its otherness and inadequacy were supposedly manifested by the libretto, based on a non-Polish subject, which led the composer’s musical thinking astray. This article compares what can be said about The Pariah on the basis of sources (not yet entirely examined) relating to the opera, with what can be drawn from the sources (not always complete) of works composed for the Warsaw Opera: Halka (the four-act version), Flis (‘The raftsman’), Verbum nobile, Hrabina (‘The countess’) and Straszny Dwór (‘The haunted manor’). Already at an early stage in research, it emerges that this opera has many more features in common with the other works than hitherto thought. That applies both to the literary layer, especially the type of subject chosen, and also to the musical setting.
Keywords:
Moniuszko, The Pariah, Halka, Delavigne, Chęciński, nineteenth-century Polish operaDetails
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