The Excursions of Mr. Brouček to the Moon and to the 15th Century (Czech: Výlety páně Broučkovy) is the complete title of Leoš Janáček’s fifth opera, based on two Svatopluk Čech novels, Pravý výlet pana Broučka do Měsíce (1888) (The True Excursion of Mr. Brouček to the Moon) and Nový epochální výlet pana Broučka, tentokráte do XV.
[4] Due to the popularity of the original novels by the iconic Czech writer Svatopluk Čech the opera was met with much scrutiny.
However, according to Desmond Shawe-Taylor, who saw the opera performed in Czechoslovakia, most observers reacted with cheerful laughter and even felt a bit sorry for the poor fellow Brouček.
[6] He became almost lovable rather than despised, as Janáček had originally intended, and his shortcomings, failings, and ordinariness tend to be seen as qualities common to regular citizens of all lands.
At this time, Janáček was reminded of his previous desire to set the story and sent letters to Artuš Rektorys, a friend of his in Prague, asking him to check the availability of the rights now that Čech had died.
Rektorys responded with news that Čech's family was hesitant to release the rights, but after hearing from Janáček himself, they agreed to give him sole use of the novels.
[7] Shortly after being granted permission to begin composition, another composer, Karel Moor [ce], had also written to Rektorys inquiring about Janáček's Brouček.
In November 1908, Josef Holý was invited to the project, but he refused due to lack of interest in the material and said "If there is not the will or the right mood, it would not turn out well, however, I tried, and so I ask you to count me out.
[7] In 1910, Janáček discovered through letters with Artuš Rektorys that Josef Holý, who originally turned down the project, had produced a ballet entitled The Moon.
With great enthusiasm, he joined the list of writers who had accepted the work without reading the previously written libretto or musical score.
Once Peška had read all the provided materials he sent a prompt response to Janáček reminding him to observe other people's renditions of the same piece.
In October 1918 Janáček had learned that Brouček would be performed at the National Theatre in Prague, given some adjustments to be made to costumes and set pieces.
With the new trimmed-down version with three acts, there were fewer scene changes to be made, which pleased National Theatre Director Schmoranz.
[7] After discussions, casting, and orchestra rehearsal, there very few changes still needing to be made (most were vocal range issues – Janáček wrote very high tessitura for singers).
The UK premiere took place on 5 September 1970 at the King's Theatre in Edinburgh with Jaroslav Krombholc conducting a Prague production with Beno Blachut in the title role, Helena Tattermuschová as Malinka, Ivo Žídek as Mazal, Karel Berman as Wurfl, and Dalibor Jedlička as the Sacristan.
He is soon caught sneaking a bite of pork sausage; the crowd quickly turns on him, and he is forced into a furious escape aboard Pegasus.
[13] As the Moon scene transforms back into the tavern courtyard in Prague, Mazál and Málinka are returning home, and the artists are enjoying a final drink.
[2] Set in the Castle of Wenceslas IV, Mr. Brouček and his fellow drinkers debate the particulars of the medieval tunnels that were believed to exist beneath the city of Prague.
This is a tumultuous period in 15th-century Prague, when the Czech people, led by Jan Žižka, were under siege by the German armies of the Holy Roman Empire.
Janáček often employs short musical phrases that extend beyond his unique definition of a motif, creating what Cooper calls a motive.
A third and larger building block in Brouček is what Dieter Stroebel calls a melos, which describes a segment of music that is longer and more melodious than those of the motif or motive, such as Example 3.
[19] Throughout The Excursion to the Moon, Janáček makes extensive use of waltzes and waltz-like melodies, which were apparently misheard by the Russian composer Dmitri Kabalevsky, who considered them "à la Strauss".
A fantastic example of a waltz as a parody is the Child Prodigy's singing of the moon anthem, which actually is a spoof of the Czech national song.
Janáček uses the music of a waltz at the end of the first dream to break the tension of the Moon population's threats against Brouček and help resolve the plot.
Many other waltzes can be found in the first part of the opera, some more deliberate than others, and Janáček made very purposeful use of each one as a device to aid in communicating unspoken, often satirical content.
[19] Also present in this part of the opera are Hussite chorales and hymns, one of which can be heard building as Brouček and Domšík go into the Týn Church on the Old Town Square.
The key of A♭ minor plays an important role in many of Janáček's compositions, including operas, string quartets, song cycles, piano miniatures, sonatas and orchestral works, no matter whether it is found in comic, tragic, funny, serious, or ironic passages.
This led to his adoption of often assigning a single pitch area to an entire scene, "by which, remarkably, he generates speedy and substantial change and enormous tension and emotion,"[21] according to Cooper.
Later in Part 2, as Brouček pleads for mercy during his condemnation scene, he explains that he "wasn't born yet," and that he is "a son of the future," both ending on A♭ (Example 9).
[23] Richard Bradshaw, who conducted the professional premiere in the United States, said of Brouček, "The two ‘excursions’ have been described as one flawed masterpiece made up of two operas.