The Teresa Stratas Met production is wonderful, and Gabriella Benackova's version is also very good, but of the three this one(in Czech) is my favourite by far. And at the moment, I have yet to see a production to de-throne it for this honour. The opera is a lot of fun, and the overture is a very popular concert piece and for good reason. This production has all the humour and the charm of The Bartered Bride and is blessed with great performances. Although the production is thirty years old, in no way does it feel dated, at least to me. It is a traditional production and looks absolutely beautiful in how simple it all looks in both costumes and sets. The picture quality and video directing are very good, and don't age the production values in any way. Otto Schenck's stage direction is true to the spirit of the opera and with a very strong Bohemian atmosphere. Yet it doesn't feel stodgy or that it doesn't feel genuine(there is a word for it, but considering that it is one of the most annoying words ever I'm not going to use it). The dancing is done with such vibrant energy, the Act 1 polka is the standout, but the Act 2 furiant is just as effective. Musically, the production is truly excellent and helped by good sound. The orchestral playing is stylish and buoyant and they play with a beautiful, full sound(kudos to the on-stage solo trumpet player), while Adam Fischer's conducting is clear and disciplined and the chorus sing with professionalism.
You couldn't have asked for better performances either. The circus troupe are enormously entertaining in how amateur they act(and this is in a good way), but there is a strong emphasis on the lead roles in The Bartered Bride and the quality is positively consistent across the board. Lucia Popp leads, and there is nothing pessimistic about this charming, very musical and very much-missed artist. Her charm is evident in her role here as Marie, complete with great facial expressions, and her silvery voice is as ever gorgeous on the ear. Siegfried Jerusalem is Wenzel, and interestingly- considering later on he was a seasoned Wagnerian Heldentenor- he is quite possibly in his lightest role of his entire career. He brings a lot of gusto to his performance, and even occasional moments of strain can't really ruin the vocal vigour he has. Heinz Zednik is similarly splendid, he has wonderful comic timing, and brings the same amount of irony he brought to his superlative Loge for Bayreuth. His singing is very characterful. Karl Ridderbusch makes for a very convincing villain in Kecal. He is funny yet somewhat malevolent and he also has superbly projected basso notes. Erich Kunz plays the Circus Master(a non-singing role) very amusingly and Gabriele Sima's vocal production as Esmeralda is clear as crystal, her dancing is very good too. All in all, a delightful treat and a definite keeper. 10/10 Bethany Cox
