The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance
only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous.
Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and,
in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures
but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its
Czech advocates. While the works of Zdenek Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for
his songs, remained closely bound to the text, those of conductor/composer Otakar Ostrcil reveal a stance that privileged
the music and, given their creator's orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged
works and Josef Suk (composer/violinist and Dvorak's son-in-law), in his incidental music reflect variously late nineteenth-century
Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles
of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary's important volume will be of interest
not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those
studying music and nationalism.