The Cunning Peasant - Composition and Reception

Composition and Reception

The Cunning Peasant was written at a time when there was a lack of high-quality Czech dramatic writers. In his 1995 notes to the Supraphon recording, Milan Pospíšil indicates that Veselý did not solve that problem. His libretto demonstrates talent but also uncritical self-confidence and recycles traditional plot elements and even the names of characters. Both Jeník and Václav, for example, are based on models with similar names in The Bartered Bride. The influence of the latter opera is further evidenced by the choice of a rustic setting. Similarities with the plot of The Marriage of Figaro have also been noted.

Dvořák set the libretto without requiring any revisions but he did propose the change of name form the original Políček knížeti (A slap for the Prince). The Cunning is ironic as the protagonist is himself cheated. The composer wrote the music in 1877. His other works of the period include the Stabat Mater, Piano Concerto and Slavonic Dances.

To provide a national character, Dvořák used a variety of dance and other forms in the opera, such as polka, waltz, sousedská, mazur and march, though the music remains typical of the composer. With short numbers, The Cunning Peasant is really an ensemble opera. The music is lyrical with the worlds of the Prince and the folk characters, of the lovers and plotters individually characterised with music that recurs. However, some of these portrayals also anticipate those of similar characters in later operas such as The Jacobin. Contemporary critics saw the musical style as too symphonic. Eduard Hanslick, for example, considered the Act 2 ballet music as better suited for a symphonic scherzo.