Kecal summons the villagers to witness the contract he has made ("Come inside and listen to me"). He reads the terms: Mařenka is to marry no one but Mícha's son. Krušina and the crowd marvel at Jeník's apparent self-denial, but the mood changes when they learn that he has been paid off. The act ends with Jenik being denounced by Krušina and the rest of the assembly as a rascal. The circus perfomer Esmerelda (Amanda Squitieri) entertains villagers in the Paris Opera production of The Bartered Bride.

Jeník consoles the sad Mařenka, who is supposed to marry Vašek, the son of the rich landowner Mícha, against her will. Jeník vows fidelity to her, but does not tell her that he is Mícha's son from his first marriage and that he went away because of his evil stepmother Agnes years ago. Defiantly Mařenka vows before her parents and the marriage broker Kecal, who has brought about the liaison, that she will not accept anybody as her husband except Jeník. Conductor Jac van Steen was in charge from the opening ‘vivacissimo’ of the overture. The dynamics and rhythmic intensity of Smetana’s fugal stand-alone concert piece are extreme and the Philharmonia Orchestra rose to the challenge. Van Steen has worked in Prague and knows the opera very well having conducted the last Garsington production. He kept the tempos brisk with an authentic Czech folk lilt when appropriate. The Garsington Opera Chorus was in thrilling voice and provided much of the gentle humour of the piece ‘a woman’s work is never done but men can escape to the pub’ with choreographer Darren Royston’s dance steps adding to the general sense of bonhomie. The chorus twisting and jiving to Smetana’s waltz was an unexpected pleasure. Anon. (20 February 1909). " Bartered Bride at Metropolitan". The New York Times . Retrieved 24 May 2020. (subscription required) The truth about the headless corpses and their evil purpose will chill readers right down to the bone. As will the mastermind’s methods of obtaining them, which spotlights just how disposable working class women, especially young women, were at this point in history, as well as just how pervasive racial prejudices were at the time.

Contents

Anon. (n.d.). "Moving Pictures: The European Films of Max Ophüls". University of Wisconsin. Archived from the original on 1 October 2009 . Retrieved 6 July 2009. Holden, Amanda; Kenyon, Nicholas; Walsh, Stephen, eds. (1993). The Viking Opera Guide. London: Viking. p. 989. ISBN 0-670-81292-7.

In America, Aaron Copland wrote music like that. The brash, wide open sound of works like "Appalachian Spring" and "Billy the Kid" seems to flow in the blood of American listeners, yet his music has also earned a place in concert halls around the world. From England, the music of Edward Elgar has crossed continents and oceans, but retains an ineffably British nature that has given him a truly special place among his countrymen. This redirection of the series really zings! It can also be read without reading the Elemental Masters series as a whole by starting with either A Study in Sable or an earlier volume which serves as a kind of prequel, The Wizard of London, which introduces the characters of Nan and Sarah as well as Lord Alderscroft, the titular “Wizard”.The rampant racism against Chinese people that appeared in the book was accurate for the time period but it was painful to see. I believe our main protagonists wouldn’t condone such bigotry but I didn’t feel like we got a clear picture of their thoughts (beyond a line or two). It may be that readers of the series are expected to know that Sarah and Nan wouldn’t feel the way the rest of London seemed to (and I believe that’s likely the truth) but hearing the racism condemned from them more strongly would have been nice. The bad guys are truly evil in this with that sociopathic approach to the lives of others, so casual in their destruction. There's no such thing as 'one, true way'; the only answers worth having are the ones you find for yourself; leave the world better than you found it. Love, freedom, and the chance to do some good -- they're the things worth living and dying for, and if you aren't willing to die for the things worth living for, you might as well turn in your membership in the human race." In strongly-focused voice, David Ireland presents Kecal as a consummate salesman and a bit of a wide boy. There’s a lively quartet of parents (William Dazeley, Yvonne Howard, John Savournin and Louise Winter) and a tireless circus troupe. Only in Smetana can you go to an opera and enjoy the circus.