OP0584. COLUMBUS - Excerpts (Skroup), recorded 1962, Prague, w.Frantisek Dyk Cond. Czech Radio Ensemble; Beno Blachut (CREATOR, 1942), Milada Subrtova, Eduard Haken, etc. (Czech Republic) Multisonic 31 0153, w.19pp. Brochure. Very long out-of-print, Final ever-so-slightly used copy! - 859931005020
“In Prague Blachut he began to sing works from the dramatic repertoire, especially in operas by Janáček, Dvořák, and Smetana. On 3 February 1942 he starred in the world premiere of František Škroup’s COLUMBUS (composed in 1855). Outside the Czech repertoire, he sang Alfredo in LA TRAVIATA, Cavaradossi in TOSCA, Don José in CARMEN, Ferrando in COSĚ FAN TUTTE, Florestan in FIDELIO, Hermann in THE QUEEN OF SPADES, Lensky in EUGENE ONEGIN, Pierre Bezukhov in WAR AND PEACE, Radames in AIDA, Walther in DIE MEISTERSINGER VON NÜRNBERG, and the title roles in FAUST and OTELLO among other roles.
By 1945 Blachut’s performance credits had grown to include almost all of the major tenor parts from the Czech repertory. At this point he was widely view as Czechoslovakia’s leading tenor and he appeared on tour with the Czech National Opera in opera performances in Austria, Belgium, Germany, Hungary, Poland, and Russia. He also appeared with the company in England at the 1964 Edinburgh Festival in an acclaimed portrayal of Luka Kuzmič in Janáček’s FROM THE HOUSE OF THE DEAD. He returned to Edinburgh for another lauded performance in 1970 as Matěj Brouček in THE EXCURSIONS OF MR. BROUČEK. That same year he sang in the world premiere of Jiří Pauer’s ZDRAVÝ NEMOCNÝ in Prague after LE MALADE IMAGINAIRE by Moličre. Blachut was also highly regaurded internationally for his portrayal of the title role in Smetana’s DALIBOR.
In addition to his performances with the Prague Opera, Blachut also occasionally worked as freelance artist, notably making guest appearances at La Fenice, Deutsche Oper Berlin, De Nederlandse Opera, theFinnish National Opera,and the Vienna State Opera. In 1959 he appeared at the Holland Festival as Boris in KÁŤA KABANOVÁ. Blachut was also active as a concert singer, appearing in productions like Dvořák’s STABAT MATER and Janáček’s GLAGOLITIC MASS. He was particularly known for his interpretation of Janáček’s THE DIARY OF ONE WHO DISAPPEARED and his recording of that work is considered by many critics to be the remaining definitive interpretation.”