Bánk Bán

by Ferenc Erkel (1810 - 1893).

Bánk Bán is a universal tale of love, fidelity and infidelity, treachery, struggle against oppression and high human aspirations. Premiered on May 1, 1861, the opera became an instant success and continues to be hailed as the summation of the Hungarian peoples' aspirations for independence from foreign rule.

The gripping story of Bánk Bán was originally written as a drama in the early 19th century by József Katona and was subsequently set to music by the renowned Ferenc Erkel, composer of the Hungarian National Anthem. The tragic hero is Bán Bánk (Bán denotes his rank, the feudal title for a local regent or viceroy), who expresses the suffering of the Hungarian people under the particularly oppressive 'Bach period' of the Habsburg regime in the early 19th century. In 1848, poet Sándor Petôfi and the March Youth demanded that the dramatic version of Bánk Bán be played at the National Theater, when they ignited the Fight for Freedom from Austrian oppression.

The gripping Medieval tale is set in 13th century Hungary, at the royal court of King Andrew II in Visegrád. The King is off fighting barbarian invaders at the borders, leaving Bánk Bán to deal with the daily travails of the suffering people. The opera opens on a festive court scene just as Bánk (a tenor) prepares to depart on a campaign around the country. We hear the famous 'Bitter Wine Song' by one of the rebellious leaders, Petúr Bán (bass baritone) and witness one of the most memorable and poignant love scenes in the history of opera. In a stirring duette, Bánk takes leave of his beautiful wife Melinda (a soprano) who is left vulnerable in the court, which has been usurped by the foreign House of Meran.

The principal villains are Prince Otto of Meran, who lusts after Melinda, and his power-hungry aunt, the towering, arrogant Gertrudis (a mezzosoprano). These are the foreigners conniving to take over power. Bánk returns unexpectedly to the court. Petúr asks him to join the revolution against these usurpers, and even worse, tells Bánk of Otto's advances toward Melinda. Petúr points out their meeting place, which leaves Bánk deeply shaken.

There is relief in all this tension with lively feasting and dance scenes: the traditional Hungarian verbunk or recruiting dance, and the formal palotás with the dancers dressed in the picturesque díszmagyar, the traditional folk costume worn on state and formal occasions by Hungary's nobility until 1945. The palotás has become the classic opening dance for Hungarian balls the world over.

In the second half of Scene One, the sly courtier Biberach (a baritone) becomes a key figure in the action. A study in perversion, frustrated and jealous, Biberach serves both Bánk and Gertrudis in order to wreak vengeance on all those he hates and invents the perfect trap into which Melinda will fall unwittingly. Act One ends with Gertrudis calling an end to the court festivities and bidding goodnight to Melinda, who proudly shuns the intruder, thus enraging Gertrudis even more against her.

Act Two takes place on the ramparts of Visegrád Castle, where Bánk hears the lament of Tiborc, the peasant who recounts the sufferings of the people. Biberach appears, bringing Bánk the news that Melinda, who unsuspectingly drank the magic love potion procured by Biberach, had given in to Otto's advances. Still stunned, she totters in only to have the outraged Bánk curse their son. Realizing she has been unfaithful to her husband, she pleads for him to kill her instead of venting his rage on their son. Bánk entrusts her and the boy to Tiborc and banishes them to his castle on the puszta, the Great Plain in far eastern Hungary.

Dismayed and desperate, Bánk rises up in rage, turns on Queen Gertrudis and stabs her to death in a great final crescendo. The powerful strains of Bánk's final aria, 'Hazám, hazám...('My country, my home...'),' are unforgettable. They express the depths of his pain and love for family and country.

In Act Three, the faithful servant Tiburc escorts Melinda with her son to the Tisza River. Tiborc tries to help them cross, but Melinda, who has by now gone mad, tosses herself into the water and she and the boy drown. Tiburc makes his way back to the court to tell Bánk the tragic news of their deaths. In the final scene Bánk throws himself on Melinda's bier and expires at his own hand.

from a review by Esther Vécsey.