This is rich subject matter for a brilliant satiric opera, but Krása lacked the genius to carry it off; his surfaces are too smooth, his eclecticism too broad. He aimed for a serious moral as well as high satire, but that delicate combination is beyond him. The music is conventional and quite singable but unmemorable. Despite the clever libretto, the opera is stillborn. This was true both in a fine production by the Washington Opera a few years ago and in this equally fine recording. The action of the opera is framed by a sung introduction and spoken epilog by the town archivist, who is relating the story some years after it takes place. The introduction is a fine aria that made a strong impression both in the live performance (John Shirley-Quirk, if memory serves) and on this recording (Michael Kraus). If only Krása had been able to match it throughout the opera!

The 1923 Symphony for small orchestra is an intriguing work. An opening Pastorale with delicate, Webernesque scoring is followed by a subdued, off-kilter little march. These two movements achieved performances in Paris, Zurich, Prague, and even Boston in the 1920s and 30s, but the finale was not heard until 1991. It is a setting for soprano of a German translation of "The Lice-Pickers," from Rimbaud's A Season in Hell and Other Poems; this grotesque tale of a child's sexual arousal as two ladies pick lice from his head was too much for Krása's contemporaries on either continent. The music is clearly modeled on Schoenberg; judging from this performance (Krása scores seem unobtainable even in Prague), there may not be a single fortissimo in the entire work. One feels the presence of a sophisticated intellect in tune with its time, and the music is more interesting than that of the opera; this time there is as much imagination as imitation.

Production values are high throughout this recording, from singing and playing to sonic quality and excellent notes. Many listeners will want the set for its unique representation of these flawed but fascinating Krása compositions.

-- James H. North, FANFARE