Page 269 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 269
national stereotypes and political issues in polnische hochzeit by joseph beer
ognisable elements of Russian musical traditions make it possible to evoc-
atively emphasise the annexation context and visualise the setting of the
operetta’s plot in the Russian partition.
Undoubtedly, a political undertone is also introduced to the libretto’s
text with a quote from Schiller’s Ode to Joy: “Seid umschlungen Millionen!
Diesen Kuß der ganzen Welt!” (Be embraced, Millions! This kiss to all the
world!). It is articulated by Boleslav in Act III when he is finally able to unite
with Jadja. And even though Jadja’s answer “Gib ihn lieber mir!” (You’d bet-
ter give it [the kiss] to me!) places Schiller’s solemn tone into a melodra-
matic context, it is actually a subtle allusion to the Enlightenment and lib-
ertarian ideological slogans that clearly sounds in the lines articulated by
Boleslav, a passionate lover and ardent patriot. The idea of introducing in-
tertextual allusions, in any case, seems to be a consistent narrative and ex-
pressive element applied in the work. As regards the characteristics of Bole-
slav, this element occurs for the first time at the end of the finale of Act I
– after the scene wherein Jadja agrees to marry Staschek to save Boleslav,
the latter sings solo, heartbroken after losing his love and embittered as he
looks forward to a tragic future. In the music of this scene, the composer
makes an allusion to (or even uses a quote from) Cavaradossi’s aria from
Act III of Giacomo Puccini’s Tosca, sung by this character just before his
execution. Shared aspects of both heroes’ (Boleslav and Cavaradossi) char-
acteristics include an exposure to danger and the uncertainty of their fates,
as well as their involvement in independence movements. Beer thus stresses
this aspect, introducing a reference to commonly known music by Puccini
and trusting that the audience would likely connect the situational context
pertaining to both characters.
Considering the crucial role of national-political issues in the oper-
etta’s plot, it would make sense to reflect upon the social undertone and pa-
triotic message of Polnische Hochzeit. In the context of the operetta’s plot,
the title is ambiguous, indicating not only national Polish wedding customs
but also an additional factor: the scheme prepared by Suza. Staschek’s hu-
miliation can be interpreted in this context as a punishment for his collabo-
ration with the Russians, and the Polish character of his wedding, indicated
in the title, should be treated as a form of stereotypical belief in Poles’ pat-
riotism and dominance of the national mindset over the sphere of person-
al life.13 From this perspective, all the musical elements typical of the then
13 Political and national issues in the operettas exploring Polish themes are noticed by
Oswald Panagl, who treats this type of problems as typical of this current in German
267
ognisable elements of Russian musical traditions make it possible to evoc-
atively emphasise the annexation context and visualise the setting of the
operetta’s plot in the Russian partition.
Undoubtedly, a political undertone is also introduced to the libretto’s
text with a quote from Schiller’s Ode to Joy: “Seid umschlungen Millionen!
Diesen Kuß der ganzen Welt!” (Be embraced, Millions! This kiss to all the
world!). It is articulated by Boleslav in Act III when he is finally able to unite
with Jadja. And even though Jadja’s answer “Gib ihn lieber mir!” (You’d bet-
ter give it [the kiss] to me!) places Schiller’s solemn tone into a melodra-
matic context, it is actually a subtle allusion to the Enlightenment and lib-
ertarian ideological slogans that clearly sounds in the lines articulated by
Boleslav, a passionate lover and ardent patriot. The idea of introducing in-
tertextual allusions, in any case, seems to be a consistent narrative and ex-
pressive element applied in the work. As regards the characteristics of Bole-
slav, this element occurs for the first time at the end of the finale of Act I
– after the scene wherein Jadja agrees to marry Staschek to save Boleslav,
the latter sings solo, heartbroken after losing his love and embittered as he
looks forward to a tragic future. In the music of this scene, the composer
makes an allusion to (or even uses a quote from) Cavaradossi’s aria from
Act III of Giacomo Puccini’s Tosca, sung by this character just before his
execution. Shared aspects of both heroes’ (Boleslav and Cavaradossi) char-
acteristics include an exposure to danger and the uncertainty of their fates,
as well as their involvement in independence movements. Beer thus stresses
this aspect, introducing a reference to commonly known music by Puccini
and trusting that the audience would likely connect the situational context
pertaining to both characters.
Considering the crucial role of national-political issues in the oper-
etta’s plot, it would make sense to reflect upon the social undertone and pa-
triotic message of Polnische Hochzeit. In the context of the operetta’s plot,
the title is ambiguous, indicating not only national Polish wedding customs
but also an additional factor: the scheme prepared by Suza. Staschek’s hu-
miliation can be interpreted in this context as a punishment for his collabo-
ration with the Russians, and the Polish character of his wedding, indicated
in the title, should be treated as a form of stereotypical belief in Poles’ pat-
riotism and dominance of the national mindset over the sphere of person-
al life.13 From this perspective, all the musical elements typical of the then
13 Political and national issues in the operettas exploring Polish themes are noticed by
Oswald Panagl, who treats this type of problems as typical of this current in German
267
