Eduard Haken

On this CD:

1. Rusalka, opera, B. 203 (Op. 114) Beda! Ubohá Rusalko bledá
Composed by Antonin Dvorak
Performed by Prague National Theatre Orchestra with Eduard Haken
Conducted by Zdenek Chalabala

2. Prodaná nevesta (The Bartered Bride), opera, JB 1:100 Kazdý jen tu svou - Znám jednu dívku
Composed by Bedrich Smetana
Performed by Prague National Theatre Orchestra with Eduard Haken, Ivo Zidek
Conducted by Zdenek Chalabala

3. Eugene Onegin, opera, Op. 24 Ach, láska klící v kazdém veku
Composed by Pyotr Il'yich Tchaikovsky
Performed by Prague National Theatre Orchestra with Eduard Haken
Conducted by Jan Hus Tichy

4. Le Postillon de Lonjumeau, opera Já sváru nejvetsí jsem shloubou
Composed by Adolphe Adam
Performed by Prague Radio Symphony Orchestra with Eduard Haken
Conducted by Frantisek Dyk

5. Les Huguenots, grand opera in 5 acts Ó, chran je Boze muj - Váecná písen
Composed by Giacomo Meyerbeer
Performed by Prague Radio Symphony Orchestra with Eduard Haken
Conducted by Frantisek Dyk

6. Zar und Zimmermann, opera O, sancta iustitia
Composed by Albert Lortzing
Performed by Eduard Haken
Conducted by Jan Hus Tichy

7. Dve vdovy (The Two Widows), opera, JB 1:108 Necht' cikoliv mne zlobí v svete!
Composed by Bedrich Smetana
Performed by Prague National Theatre Orchestra with Eduard Haken
Conducted by Jaroslav Krombholc

8. Il barbière di Siviglia (The Barber of Seville), opera Pomluva jak vánek je
Composed by Gioachino Rossini
Performed by Prague National Theatre Orchestra with Eduard Haken

9. Svätopluk, opera Snímte im putá
Composed by Eugen Suchon
Performed by Prague National Theatre Orchestra with Eduard Haken
Conducted by Zdenek Chalabala

10. Nabucco, opera (Nabucodonosor) Pojd' duse verná
Composed by Giuseppe Verdi
Performed by Prague Radio Symphony Orchestra with Eduard Haken
Conducted by Frantisek Dyk

11. Don Giovanni, opera, K. 527 Done Giovanni! Pozval jsi mne...
Composed by Wolfgang Amadeus Mozart
Performed by Prague Chamber Orchestra with Karel Berman, Eduard Haken, Vaclav Zitek
Conducted by Libor Pesek

12. Branibori v Cecháach (The Brandenburgers in Bohemia), opera, JB 1:87 Rozlucte se s domovem
Composed by Bedrich Smetana
Performed by Prague National Theatre Orchestra with Eduard Haken
Conducted by Jan Hus Tichy

Eduard Haken, Music, Vaclav Zitek, Eduard Haken, Karel Berman, Adolphe Adam, Antonin Dvorak, Albert Lortzing, Giacomo Meyerbeer, Wolfgang Amadeus Mozart, Gioachino Rossini, Bedrich Smetana, Eugen Suchon, Pyotr Il'yich Tchaikovsky, Giuseppe Verdi, Frantisek Dyk, Jan Hus Tichy, Jaroslav Krombholc, Libor Pesek, Zdenek Chalabala, Prague Chamber Orchestra, Prague National Theatre Orchestra, Prague Radio Symphony Orchestra, Ivo Zidek, Classical, Czech Romantic Opera, French Romantic Opera, German/Austrian Classical Period Opera, German/Austrian Romantic Opera, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Russian Romantic Opera

Stravinsky: Oedipus Rex; Symphony of Psalms
Average customer rating:

"FINEST" SYMPHONY OF PSALMS -- GREAT OEDIPUS REX

Fate is our real lord

Ancerl - More of the Gold Standard

Stravinsky: Oedipus Rex; Symphony of Psalms

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

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Stravinsky: Three Greek Ballets (Apollo, Agon, Orpheus)

ASIN: B00008ZL4V
Release Date: 2003-04-22

Customer Reviews:

"FINEST" SYMPHONY OF PSALMS -- GREAT OEDIPUS REX.......2006-01-02

"No need to mince words here: this is the finest Symphony of Psalms available. . ." (David Hurwitz, ClassicsToday.com)

My reference recording of "The Symphony of Psalms" has always been the one on Telarc with Robert Shaw/Atlanta Symphony Orchestra & Chorus. In the mid-90s, Dr. Shaw came to Minneapolis to direct the work and the Durufle "Requiem" with the combined forces of the Minnesota Orchestra and The Dale Warland Festival Singers. I was fortunate to be a member of the latter group. It was an awesome experience, one I shall treasure all my life. The chorus was expertly prepared ahead of Dr. Shaw's arrival in town, so the great man spent most of his time inspiring us and creating something deeply spiritual - and musically stunning.

Today, however, I was totally blown away by this recording. Although new to me, it was originally recorded in 1966. Even though Robert Shaw is responsible for some of the finest choirs in America, the Prague Philharmonic Choir is (or was) undoubtedly one of the greatest choral ensembles ever, rivaling the Russia's finest. The timbre of those voices is darker and richer than American and/or English choirs, yet they sing with great expression and nuance. Additionally, the Czech Philharmonic is an outstanding ensemble, which, under the direction of Karel Ancerl, was surely one of the finest orchestras in the world. And praise must be given to recording director Eduard Herzog and to sound engineer Miloslav Kulhan for an amazingly natural-sounding recording. Listen to the space and air around the woodwinds in the fugue that opens the second movement. Feel the impact of the brass choirs. Marvel in the balance between singers and instruments. Could it be that vacuum tube analog recording is warmer and more three dimensional that its digital counterpart?

To further quote from David Hurwitz: "If your hair doesn't stand on end when, in the first movement, the massed voices hurl out the words "et deprecationem meam", then you are either aurally challenged or dead. Has Stravinsky's immaculately cool wind writing ever sounded better? Has the second-movement double fugue ever been more clearly phrased or the closing pages sung with such calm intensity? Here's the bottom line: if you haven't heard this performance, then you simply don't know the Symphony of Psalms. Orchestra, chorus, and conductor are all beyond praise."

"Oedipus Rex," although an opera, is often performed as a concert piece. The original intent was for the actors and narrator to "remain static on stage in statuesque manner, with their faces hidden behind masks, to create the impression, true to the classical antiquity's dominant pattern of thought, of helplessness in the hands of cruel fate." (liner notes) Although a French-speaking narrator introduces the play and reports on its progress, the rest of Jean Cocteau's libretto is in Latin. Unfortunately, no English translation is provided, my only complaint. The soloists are superb, especially Ivo Zidek as Oedipus and Karel Berman as Creon. "As in the Symphony, the choral singing is stunning, and Ancerl's direction is a model of clarity and rhythmic incisiveness." (Hurwitz)

In 1968, "Oedipus Rex" was awarded both the GRAND PRIX DU DISQUE DE L'ACADEMIE DU DISQUE FRANCAIS and the ORPHEE D'OR DE L'ACADEMIE DU DISQUE LYRIQUE. More recently, this Ancerl Gold Edition disc received a 10/10 rating from ClassicsToday.com, for both Artistic Quality & Sound Quality. It is not to be missed.

Fate is our real lord.......2004-04-15

Jean Cocteau committed here a great short version of the eternal story of ÂŒdipus, that son of a king who kills his father, marries his mother, and finally discovers truth, and that leads to the blackest drama of all. This opera-oratorio is in latin, so Jean Cocteau has included a narrator that summarizes the story in French for us to follow the plot without having to make the effort of learning latin anew. Stravinsky produces a music that contains no strings. He hence uses the magic of wind instruments and percussions to create the necessary atmosphere. He opposes ÂŒdipus as a tenor to all other men, Creon, the messenger, Tiresias, and the shepherd who are basses and sing in a very low coloration. ÂŒdipus and his tenor voice become the embodiment of vanity and the refusal of God, and this vanity leads him to the trap in which he falls. Jocaste, his mother and wife, is a soprano and she brings a soothing atmosphere and discourse in the drama, but her light and elegant voice becomes even vainer than ÂŒdipus' because she rejects any kind of oracle. Her aria on the subject is quite effective and famous : she is totally blinded by her iconoclastic conviction, belief. This piece of music closes with the story of the drama : Jocaste hanging herself and ÂŒdipus blinding himself. This finale is entirely built around the four repetitions of the burden about Jocaste's divine head being dead. This fourness, this squarish construction and the music that goes along with it is like the absolute closing of a door that tries to signify that there is no escape from fate, no possible refusal of destiny or providence. We are nothing but toys in the hands of the great forces that govern us from beyond death as Jean Cocteau says, and Stravinsky sings. Ancerl's performance and conducting give that music a clarity, a neatness that fit perfectly the story, the Greek mythology that looms behind, the Greek sunshine under which such stories are unimaginable, but also the happy and merry 20s when everything seemed possible and when artists were reminding people that the world is in constant danger of being infested with some plague that is always man-made or at least man-caused. This shiny clarity of the music, the singing and the conducting provides us with the strongest argument about our doomed human fate on earth. Could men listen to that lesson !

Dr Jacques COULARDEAU

Ancerl - More of the Gold Standard.......2004-03-05

The Supraphon label has been doing an excellent job of reissuing large parts of their back catalog over the last few years. Not only are they releasing numerous performances with the Czech Philharmonic and visiting conductors like Kletzki and Matacic (see my reviews), but they've also remastered (in 24/96) many of the recordings of conductor Karel Ancerl in the new "Gold Edition." Volume 14 of this series features Ancerl and the Czech PO performing Stravinsky's "Oedipus Rex" and the Symphony of Psalms. The performances are golden-age stereo recordings from 1964-65 and 1966 respectively. "Oedipus" is certainly an acquired taste (hence the four stars), but the Psalms performance is surprisingly as good as those by Ansermet and the composer himself. It is an enjoyable disc, and I look forward to purchasing (and reviewing) more titles from Karel Ancerl's "Gold Edition."

Average customer rating:

The best Rusalka recording.....
The best Rusalka available
Still the greatest Rusalka
Czech lyric fairy tale.
A touching, vibrant Rusalka

Dvorak: Rusalka

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

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Dvorák: The String Quartets
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Beethoven: Fidelio

ASIN: B00000DFP9
Release Date: 1998-11-01

Tracks:

Rusalka: Overture
Rusalka: Act One: 'Ho, Ho, Ho!' (Three Dryads, The Watersprite)
Rusalka: Act One: 'Watersprite, My Father Dear!' (Rusalka, The Watersprite)
Rusalka: Act One: 'He Comes Here Frequently' (Rusalka, The Watersprite)
Rusalka: Act One: 'O, Moon High Up In The Deep Sky' (Rusalka, The Watersprite, Jezibaba)
Rusalka: Act One: 'Your Ancient Wisdom Knows Everything' (Rusalka, Jezibaba)
Rusalka: Act One: 'Abracadabra!' (Jezibaba, The Watersprite, The Hunter)
Rusalka: Act One: 'Here She Appeared And Again Disappeared!' (The Prince, The Hunter)
Rusalka: Act One: 'The Hunt Is Over, Return Home At Once' (The Prince, The Naiads, The Watersprite)
Rusalka: Act One: 'I Know You're But Magic That Will Pass' (The Prince)
Rusalka: Act Two: 'Well Then, My Dear Boy' (The Game-Keeper, The Turnspit)
Rusalka: Act Two: 'A Week Now Do You Dwell With Me' (The Prince, The Foreign Princess)
Rusalka: Act Two: Festive Music. Ballet

Tracks:

Rusalka: Act Two: 'No One In This World Can Give You' (The Watersprite)
Rusalka: Act Two: 'White Blossoms All Along The Road' (Chorus, The Watersprite)
Rusalka: Act Two: 'Rusalka, Daughter, I Am Here!' (The Watersprite, Rusalka)
Rusalka: Act Two: 'Strange Fire In Your Eyes Is Burning' (The Foreign Princess, The Prince, The Watersprite)
Rusalka: Act Three: 'Insensible Water Power' (Rusalka)
Rusalka: Act Three: 'Ah, Ah! Already You Have Come Back?' (Jezibaba, Rusalka)
Rusalka: Act Three: 'Uprooted And Banished' (Rusalka, The Naiads)
Rusalka: Act Three: 'That You're Afraid? Don't Be Silly' (The Gamekeeper, The Turnspit, Jezibaba, The Watersprite)
Rusalka: Act Three: 'Hair, Golden Hair Have I (Three Dryads, The Watersprite)
Rusalka: Act Three: 'Where Are You, My White Doe?' (The Prince)
Rusalka: Act Three: 'Do You Still Know Me, Lover? (Rusalka, The Prince, The Watersprite)

Customer Reviews:

The best Rusalka recording............2007-02-08

This 1961 recording by the all-Czech cast is just great. They all performed the roles their entire lives and you can clearly hear it in their performances. As a Czech native, I was not distracted by imperfect pronunciations and trully enjoyed the performance as it captured the beauty of Dvorak's music. It made me homesick.....

The best Rusalka available.......2006-08-13

Rusalka is quintessential Dvorak. And it is one of those operas that's totally entertaining to hear on CD even if you don't know or follow the libretto. I have heard the sets by Neumann and Mackerras and despite their virtues, Chalabala's performance makes Dvorak's score come alive in the way alive the others don't. The sound is rich and full and revealing of detail. And the price is competitive. If you love Dvorak this is not to be missed.

Still the greatest Rusalka.......2006-05-26

Rusalka is, along with "Yevgeny Onegin", my favourite Slavic opera. Only a few stunning recordings of this one exist, my favourites almost all "unknowns". My Nr.1 sadly only recorded the song to the moon, the sadly underrated Pilar Lorengar. Nr.2 is present on this recording, Milada Subtrova. Her voice is utterly perfect for this role. Beautiful in an unearthly way, youthful & yearning she gives the despairing watersprite a dignity it so desperately needed. Her phrasing is ardent and noble, her diction picture-perfect. Her vocal acting surpasses such great Rusalkas as Stratas, Fleming &Benackova. It may not have Stratas' fragility, Fleming's pacing & lucurious timbre & Benackova's silvery top but it has enough of everything and more. Never do we hear her throw herself in a pose, she's always natural. A great achievement that's sadly underrated nowadays. (She also lends an actress her voice in a Rusalka-Film, btw)

Eduard Haken sounds perfect as Rusalka's warning father. simply superb. Ivo Zidek sings with fervour & youthful timbre as the faithless prince, his final duet with Rusalka is heartbreaking indeed. Despite my love for Fleming & Stratas, this remains my favourite recording of Dvorak's enchanting fairy tale opera.

Czech lyric fairy tale........2006-03-18

Dvorak's penultimate opera, Rusalka, is also by far his most famous-a masterpiece full of wonderful melodies, outstanding orchestration and use of slavic rhythms. In the original manuscript of the opera, Dvovak gave the subtitle "Lyric fairy tale in 3 acts". This definitely gives some clue on the overall atmosphere of the opera and the way it should be handled. This recording, which is not as famous as the more recent recordings with Renee Fleming and Benackova, just happens to be the golden yardstick for Dvorak's Rusalka. Each set has their own strengths, but this is by far my favorite. Subrtova gives great insight on the tragic character of the water-nymph: young, ardent and full of pathos. Her tone might not be as glorious as Fleming's or as sparkling as Benackova's, but its girlishness combined with a marvellous Czech diction and very simple approach makes for the most lovable and memorable portrayal of the character. The Song to the moon and final duet in particular are handled extremely well by Subrtova. Haken's Watersprite is excellent. Despite some signs of unstable vocal powers (notably in the final "Beda" of the final duet), the voice is warm, deep and extremely human. His aria near the beginning of the 2nd act is a marvel. Zidek is a very good portrayal of the prince and totally shines in the final duet, with wonderful phrasing that creates a mesmerizing death scene. The other characters are also well handled, Jezibaba is a great character portrayal, and gives a very interesting account of the "Abacadabra" aria, choosing a very wicked sounding high F. I agree with the review saying that the foreign princess is the weakest link, mostly because this role is originally written for a soprano, and this recording uses a mezzo instead, which results in a lot of hysterical screamings, but good character portrayal nonetheless. Finally, Chalabala handles the score exceptionally well, bringing all the details to Dvorak's eloquent and magnificient score. Despite the relatively weak brass section, the Czech national theatre orchestra play brilliantly, especially in the strings and woodwinds, bringing out all the Czech idiom and the dreamy "fairy-tale" like character of the music. Sound quality is surprisingly good. Highly recommended.

A touching, vibrant Rusalka.......2004-12-02

Dvorak's stunningly beautiful opera, which so effortlessly weaves together Czech folk rhythms with almost Wagnerian lietmotifs has recently become a favorite role of the American soprano Renee Fleming. Her recording is available on Decca. On the Supraphon label, the lovely Gabriella Benackova also has a recording. Both Benackova and Fleming have achieved international fame. Benackova's silvery, almost otherworldly voice is unmatched for this water-sprite role. But her set is plagued by a rather forgettable performance from Wieslaw Ochman as the Prince.

Chalabala's lesser known 1961 set remains my favorite Rusalka. This recording has a vigor and vivacity that the other sets lack -- Chalabala seems to understand the nuances of the score like the back of his hand. There are some very minor cuts, which is the only drawback. But this recording is the only one that makes me love ALL of Rusalka, not just the deservedly famous moments (like the Song to the Moon).

The cast is uniformly excellent. Milada Subtrova's voice has neither the lushness of Renee Fleming's nor the otherworldliness of Gabriella Benackova's, but it is still exceptionally beautiful. Like many Slavic voices it has an edge of steeliness, but fortunately it never turns truly hard(unlike, say, Galina Vishnevskaya). Her Rusalka has a desperation, ardor and earthiness the other Rusalkas lack. Even the Song to the Moon is sung with fervency. Subrtova's Rusalka is always deeply felt.

As Rusalka's watersprite father Eduard Haken has perhaps the loveliest music of the entire opera. His vibrato has loosened a bit, but he still infuses this role with tenderness and feeling. Ivo Zidek, as the faithless Prince, had an extremely distinguished career. If his voice doesnt have the absolute purity and beauty of, say, Fritz Wunderlich, he still sings with an idiomatic style and sensitivity. His final duet with Subrtova is heartrending.

I think overall this recording understands that a slim "fairy tale" doesn't necessarily equal a certain lyrical detatchment. This sad little story of a the water nymph and her faithless Prince is performed almost veristically. So even though the early stereo sound can occasionally be tinny, I really think if you want a Rusalka, this is the recording to get.

Average customer rating:

A Revelation!

Dvorák: Rusalka

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B0009J2S02
Release Date: 2005-05-31

Customer Reviews:

A Revelation!.......2005-06-13

A Czech friend of mine described this as the "ultimate 'Rusalka'". At first listen, I wasn't quite as enthusiastic, but repeated samplings have convinced me that this performance is perhaps the most consistently fine and engrossing yet to appear. I'd hate to go without Milada Subrtova's Rusalka from the 1960 Supraphon set, but if I had to choose only one, this 1952 recording might possibly be it.

It is good that Suprahpon is transfering much of it's excellent mono catalogue to CD lately, and these discs, with 24 bit digital remastering, have superb sound far surpassing Supraphon's other vintage releases from this period.

No less superb is conductor Jaroslav Krombholc, to my mind the best. Chalabala from the 1960 set is remembered by some experts as THE "Rusalka" conductor for all times while others have preferred Neumann and Mackerras on succeeding sets, but Krombholc gives a direct, dramatic and unfussy account of the score that goes straight to mark. I like his pacing: faster than Chalabala, and from what I remember, Neumann too. This pays off in the many conversational scenes that needn't be dragged out, especially the gossip between the Gamekeeper and the Turnspit at the beginning of Act 2, though I wish he had given the lovers a little more space in their final duet. Otherwise, important moments are given their due, orchestral sections are weighty and vital, his rendering of the ballet more stirring than all others, the dark moments truly terrifying.

(NOTE: In a review of Chalabala's set here on Amazon, I said I wouldn't trade that conductor in for any other. I was wrong.)

Blachut is a predictably fine Prince who outscores his 1960 successor Zidek with manly tone and ringing attack. His voice pours forth like streams of liquid gold dust, the high C thrilling. He yields only slightly to Zidek's haunted phrasing in the death scene, but Blachut's ardor elsewhere compensates. My initial balking at my friend's exuberance came with Ludmila Cervinkova's Rusalka: her voice simply hasn't the ravishing beauty of a Subrtova, Benackova or Fleming, but she nevertheless exhibits an extremely attractive, womanly timbre and is in splendid shape vocally -- nothing out of place. Her "Moon Aria" is not the highlight of her performance, rather it is the character's longing and despair she so vividly conveys in line after line (though she doesn't identify with the part as completely and intensely as Subrtova). Her reading of the aria at the beginning of Act 3 and her confession to her father that the Prince has abandoned her cut right to the quick.

Rusalka's father is sung by Eduaurd Haken, imbued with perhaps a little less tenderness than his reprise of 1960, but his firmly vibrant voice in its prime immensely satisfies with dark cavernous tone and greater accuracy, pulling it up from fabulous depths like the best of Russian basses. Even then his characterization was a classic. Marta Krasova is rich and firm as the Witch, wisely holding back the true horror of her intentions until the last act -- a brilliant effect. The Foreign Princess is sung by Marie Podvalova, much adored by the Czech public though I never quite understood why; her voice is simply too wobbly and strident for my tastes. Urbanova for Mackerras is incomparble in this part.

The supporting cast is good, especially baritones Koci and Joran, typical examples of the warm and sympathetic Czech baritones who seemed to combine the best of the classic German and Russian schools. Alas, all three seem to be waning these days. Chorus and orchestra are also fine.

So compare this recording to Supraphon (1960) with Chalabala: Subrtova, Zidek, Haken; Supraphon (c. 1980) with Neumann: Benackova, Ochman, Novak; and Decca (late 1990's) with Mackerras: Fleming, Heppner, Hawlata. All offer something splendid. Some listeners may not tolerate Krombholc's mono sound or the old-fashioned middle-European quality of Cervinkova's spinto. Otherwise, I cannot praise this recording highly enough.

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Smetana:The Brandenburgers in Bohemia

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

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Smetana:The Devil's Wall
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Dvorak: Rusalka

ASIN: B00000JK21
Release Date: 1994-01-04

Average customer rating:

Eduard Haken: Bass

Manufacturer: supraphon
ProductGroup: Music
Binding: Audio CD

Product Description

rusalka.the bartered bride,the two windows,the brandenburgers in bohemia.eugene onegin.le postillon de lonjumeau.les huguentos.il barbiere di seviglia.zar und zimmermann.svatopluk.nabucco.don giovanni

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Frantisek Skroup: Columbus (Highlights)

Manufacturer: Multisonic Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
ASIN: B0000034EP
Release Date: 1994-03-01

Average customer rating:

Operatic Recital

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music
ASIN: B000026E5I
Release Date: 1996-01-01

Tracks:

The Two Widows (Ladislav Podhajsky, Act 2) - Prague National Theatre Orch/Gregor
The Two Widows (Ladislav Podhajsky, Act 1) - Prague National Theatre Orch/Vasata
The Secret (Blazenka, Vitek, Act 2) - Stefa Petrova
The Devil's Wall (Jarek, Act 2) - Prague National Theatre Orch/Vasata
The Brandenburgers in Bohemia (Ludise, Janos, Act 2) - Milada Subrtova
Dalibor (Dalibor, Act 3) - Prague National Theatre Orch/Vasata
The Bartered Bride (Jenik, Marenka, Act 1) - Drahomira Tikalova
The Tempest (Fernando, Act 2) - Prague National Theatre Orch/Vasata
The Jacobin (Jiri, Terinka, Act 1) - Miroslava Fiedlerova
From the House of the Death (Skuratof's narration, Act 2) - Prague National Theatre Orch/Gregor
Julietta (Michel, Julietta, Act 3) - Maria Tauberova
Rusalka (The Prince, Act 1) - Prague National Theatre Orch/Chalabala
Rusalka (The Prince, Rusalka, the Water Goblin, Act 3) - Milada Subrtova/Eduard Haken