úlohy gender

Gender Studies: Women in Opera and Operetta Ensembles of the Municipal Theatre in Bratislava (1886–1920)
This study surveys the performing of female opera/operetta singers in the Municipal Theatre in Bratislava in the period of 1886–1920 and the premiere of the opera Tamaro (1907), composed by Bratislava composer and countess Alexandrine Esterházy-Rossi, in the context of the history of female composers. The profession of the opera singer represents the only occupation in which the “emancipation” of gender roles had been implemented since the origination of the opera as an institution. Guest performances of two singers are examined in detail: Lujza Blaha (1850–1926) and Irma de Spányi (1861–1932). Whereas in the area of performance women could reach the highest level, the creative skills and the profession of music composer had been considered exclusively the male domain. The lyrical romantic opera Tamaro by Alexandrine Esterházy-Rossi (1844–1919) was originally premiered in the Municipal Theatre in 1907, with the true name of the composer hidden behind the male pseudonym Alex Ertis. At present the work is lost. Lyricism, a wealth of melodic devices and graceful orchestration were emphasized in the press reviews. The libretto was criticised as it was lacking crucial dramatic situations. The performance of Alexandrine Esterházy-Rossi’s opera serves as an example of the continuous transformation of the opinions regarding female creativity.