DOCSLIB.ORG

記錄編號12246 狀態g0496838017 助教查核建檔完成索書號查核

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
記錄編號12246 狀態g0496838017 助教查核建檔完成索書號查核 記 錄 12246 編 號 狀 G0496838017 態 助 教 建檔完成 查 核 索 書 查核完成 號 學 校 輔仁大學 名 稱 系 所 音樂學系 名 稱 舊 系 所 名 稱 學 496838017 號 研 究 生 洪于淳 (中 ) 研 究 生 Yu-Chun Hung (英 ) 論 文 論華格納歌劇於德勒斯登、慕尼黑及拜魯特歌劇院之演出實踐 名 稱 (中 ) 論 文 名 A Research on the Performance Practice of Richard Wagner's Operas in Opera 稱 Houses in Dresden, Münchcn and Bayreuth (英 ) 其 他 題 名 指 導 教 徐玫玲 授 (中 ) 指 導 教 Mei-Ling Shyu 授 (英 ) 校 內 全 文 2012.6.21 開 放 日 期 校 外 全 文 2013.6.21 開 放 日 期 全 文 不 開 放 理 由 電 子 全 文 同意 送 交 國 圖. 國 圖 全 文 2013.6.21 開 放 日 期. 檔 案 全文 說 明 電 子 01 全 文 學 位 博士 類 別 畢 業 學 100 年 度 出 版 101 年 語 文 中文 別 關 鍵 字 華格納 杉普歌劇院 巴伐利亞國家歌劇院 拜魯特慶典歌劇院 演出實踐 (中 ) 關 鍵 Richard Wagner Semperoper Bayerische Staatsoper Bayreuth Festspielhaus 字 Performance Practice (英 ) 摘要 華格納 (Richard Wagner, 1813-1883) 的歌劇創作歷程非常漫長，從 1833 年開始構思第一部歌劇《小仙女》(Die Feen) 開始，直到 1882 年完成《帕西 法爾》(Parsifal) 為止，總共橫跨將近半個世紀的時間，而華格納的歌劇創作 風格就在這漫長的過程中，呈現出令人感到驚奇的發展，因此本論文要從 華格納對於歌劇這個樂種，以及當時實際演出的諸多探討，思索究竟歌劇 作品與歌劇院之間有多少互動的可能性。 從華格納先後於杉普歌劇院 (【德】Semperoper)、巴伐利亞國家歌劇院 (【德】Bayerische Staatsoper)，以 及拜魯特慶典歌劇院 (【德】Bayreuth Festspielhaus) 這三間與他關係匪淺的 摘 歌劇院之首演經驗，得知華格納從早期任職於德勒斯登杉普歌劇院時，對 要 於歌劇院樂池所能夠容納的樂團人數不足，而深感歌劇演出場地之不適 (中 用；由於國王路德維希二世的賞識，而讓華格納在舞台設備更優良、更適 ) 合劇情進行的巴伐利亞國家歌劇院中得以首演更多歌劇作品；當華格納離 開慕尼黑之後，由於無法尋找到完全符合心中理想的歌劇院，才到拜魯特 建造一座全新歌劇院。從華格納在不同城市之間的移動，可以看到的不只 是歌劇風格上由編碼歌劇至樂劇的歷程，藉由華格納在這些歌劇院首演時 的評論，也可以愈來愈清楚地得知符合華格納理念的歌劇院，其舞台、樂 池與觀眾席的設計方式，探索出其歌劇風格演變和演出實踐 (Performance Practice) 之間的關聯，勾勒出華格納在不同階段歌劇作品與創作理念之完美 結合。 Abstract From Die Feen in 1833 to Parsifal in 1882, Richard Wagner devoted himself into opera for almost a half century. During this long period of time, his opera style had been presenting an astonishing progress. Therefore, this thesis is based on Wahner’s own opinion about this genre and its premiere experiences; and tries to 摘 seek out possibilities of connection between operas and venues. These premiers were 要 held in Semperoper, Bayerische Staatsoper and Bayreuth Festspielhaus; each of these (英 venues had its own relationship with Wagner. When Wagner worked in Semperoper ) as Kapellmeister, he persisted that the vanue was not big enough to accomdate the number of orchestral players, and that would be one of the reasons to devalue the opera venue. Afterwards, due to the appreciation from Ludwig II, Wagner could have hold more premieres in a better equipped opera house; taking Bayerische Staatsoper for example. After departuring from München, Wagner would rather to built a complete new opera house in Bayreuth instead of finding a non existent venue. Further more, we can see the progress not only the opera style from number opera to Musikdrama, but also the image of the opera houses from Wagner’s views on these premiers. Especially from the designing of the stage, orchestra and auditorium, it has clearly shown the connection between his opera style and the performance practice, also it has built up the perfect combination of opera and theory in various stages. 目錄 謝辭 i 摘要 ii Abstract iii 目錄 iv 圖例目錄 vi 譜例目錄 viii 表格目錄 ix 凡例 x 第一章 前言 1 第一節 研究背景與動機 1 第二節 文獻評述與實地參訪 6 第三節 研究範圍與限制 11 第二章 華格納之歌劇理念 14 第一節 編碼歌劇 之省思 14 第二節 樂劇之定義與手法 19 第三節 總體藝術作品之實現 33 第 三章 歌劇院內部空間與歌劇演出 40 第一節 舞台 40 第二節 樂池 50 第三節 觀眾席 59 第四章 德勒斯登 66 第一節 歌劇院與演出 66 第二節 杉普歌劇院 73 第三節 華格納之歌劇首演 77 第五章 慕尼黑 85 第一節 歌劇院與演出 85 第二節 巴伐利亞國家歌劇院 91 第三節 華格納之歌劇首演 96 第六章 拜魯特 105 第一節 方伯歌劇院 106 第二節 拜魯特慶典歌劇院 108 第三節 歌劇首演 114 第四節 歷屆音樂節總監 126 結論 141 參考書目 145 附錄一 【拜魯特慶 典歌劇院建築年表】 155 附錄二 【《尼貝龍的指環》之布景安排】 163 附 錄三 【《尼貝龍的指環》歷屆指揮與導演】 171 附錄四 【檔案室授權信】 174 圖例目錄 圖例 一：第二幅〈瓦特堡山腳下的友善山谷〉 43 圖例 二： 阿匹亞所設計之《女武神》第三幕 47 圖例 三：維洛納圓形劇場 51 圖例 四：由拜魯特慶典歌劇院觀眾席看向舞台 55 圖例 五：拜魯特慶典歌劇院樂 池內部 56 圖例 六：樂池上方覆蓋板 56 圖例 七：拜魯特慶典歌劇院樂池剖 面圖 58 圖例 八：拜魯特慶典歌劇院之觀眾席設計 (1873 年) 60 圖例 九：拜 論 魯特慶典歌劇院平面圖 61 圖例 十：半圓形透視背景 (1904 年) 64 圖例 十 文 一：茲芬格大歌劇院 69 圖例 十二：《泰歐芬妮》舞台與樂池 69 圖例 十 目 三：小宮廷劇院 71 圖例 十四：德勒斯登茲芬格皇宮區 72 圖例 十五：第一 次 座杉普歌劇院 73 圖例 十六：第一座杉普歌劇院觀眾席 (1869 年) 74 圖例 十 七：第二座杉普歌劇院 75 圖例 十八：杉普歌劇院可升降之樂池 76 圖例 十 九：戴斯波列契之舞台設計 81 圖例 二十：海涅之舞台設計 81 圖例 二十 一：庫斐利耶劇院剖面圖 87 圖例 二十二：庫斐利耶劇院觀眾席 87 圖例 二 十三：攝政王劇院內部 90 圖例 二十四：法國喜劇院 (建於 1782 年) 92 圖例 二十五：巴伐利亞國家歌劇院平面圖 92 圖例 二十六：巴伐利亞國家歌劇院 觀眾席 93 圖例 二十七：羅馬萬神殿 94 圖例 二十八：巴伐利亞國家歌劇院 外觀 94 圖例 二十九：《崔斯坦與伊索德》第一幕場景 96 圖例 三十：慕尼 黑慶典歌劇院之模型 101 圖例 三十一：華格納歌劇院發展脈絡圖 103 圖例 三十二：華格納指揮於方伯歌劇院 106 圖例 三十三：方伯歌劇院之觀眾席 107 圖例 三十四：建築師布呂克法特之設計圖 109 圖例 三十五：拜魯特慶 典歌劇院剖面圖 110 圖例 三十六：拜魯特慶典歌劇院牆面桁架 111 圖例 三 十七：拜魯特慶典歌劇院後台 112 圖例 三十八：拜魯特訪客名單 (1876 年 8 月 14 日) 124 圖例 三十九：《女武神》第三幕布景 (1876 年) 129 圖例 四 十：《女武神》第三幕布景 (1896 年) 129 圖例 四十一：《女武神》(1951 年) 133 圖例 四十二：《女武神》(1960 年) 133 圖例 四十三：《女武神》 (1965 年) 133 圖例 四十四：《帕西法爾》(1951 年) 134 圖例 四十五：《帕 西法爾》(1975 年) 138 譜例目錄 譜例 一：《唐懷瑟》第一幕第二景 17 譜例 二：《唐懷瑟》第三幕第一景 18 譜例 三：主導動機「尼貝龍族之子」 23 譜例 四：主導動機「號曲」 24 譜例 五：主導動機「歌頌勝利」 25 譜例 六：主導動機「萊茵的女兒之歌」 28 譜例 七：主導動機「瓦哈爾城」 30 譜例 八：主導動機「女武神」 30 譜例 九：主導動機「命運」 31 譜例 十： 《唐懷瑟》第一幕第二景 45 譜例 十一：《萊茵的黃金》(第 751-752 小節) 117 譜例 十二：《萊茵的黃金》(第 1862-1865 小節) 118 譜例 十三：《女武 神》(第 1502-1510 小節) 119 譜例 十四：《女武神》(第 1988-1991 小節) 120 譜例 十五：《諸神的黃昏》前奏曲銜接至第一幕處 122 表格目錄 表格 一： 論文探討範圍 12 表格 二：〈瓦特堡山腳下的友善山谷〉之文字說明 44 表 格 三：茲芬格皇宮區周圍之歌劇院 67 表格 四：《漂泊的荷蘭人》與《唐 懷瑟與瓦特堡歌唱大賽》之管樂編制 79 表格 五：首屆拜魯特音樂節演出計 畫表 124 表格 六：方林姆與多斯特之場景比較 137 表格 七：拜魯特慶典歌 劇院歷屆音樂節總監與劇目 139 參考書目 西文文獻 Adorno, Theodor W. In Search of Wagner. Trans. Rodney Livingstone. London/New York: Verso, 2005. Anthony, James R. “Mazarin, Cardinal Jules.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. Vol. 16. Oxford: Oxford University Press, 2001. 186. Barth, Herbert, Dietrich Mack, and Egon Voss (eds.). Wagner: A Documentary Study. New York: Oxford University Press, 1975. Barbier, Patrick. Opera in Paris, 1800-1850: A Lively History. Portland: Amadeus Press, 1995. Bassett, Peter. Richard Wagner’s Tristan und Isolde. Adelaide: Wakefield Press, 2006. Bauer, Oswald Georg (ed.). Programmhefte der Bayreuther Festspiele 1981. Bayreuth: Buch-und Offsetdruckerei Emil Mühl, 1981. ---. Richard Wagner: The Stage Designs and Productions from the Premières to the Present. New York: Rizzoli, 1983. Bauman, Thomas. “Germany, Austria.” The New Grove Dictionary of Opera. Ed. Stanley Sadie. Vol. 2. London: Macmillan Reference Limited, 1997. 386-389. Bauman, Thomas, and Dieter Härtwig. 參 “Dresden.” The New Grove Dictionary of Opera. Ed. Stanley Sadie. Vol. 1. 考 London: Macmillan Reference Limited, 1997. 1246-1253. Bayreuther Festspiele 文 GmbH (ed.). Bayreuther Festspiele: The Idea, the Building, the Performances. 獻 Bayreuth: Buch-und Offsetdruckerei Emil Mühl, 2006. ---. Bayreuther Festspiele: Festspielidee, Festspielhaus, Aufführungen. Bayreuth: Buch-und Offse tdruckerei Emil Mühl, 2010. ---. Bayreuther Festspiele: Die Idee, Der Bau, Die Aufführungen. Bayreuth: Buch-und Offsetdruckerei Emil Mühl, 1994. Beauvert, Thierry. Opera Houses of the World. New York: The Vendome Press, 1995. Becker, Wolfgang. Die deutsche Oper in Dresden unter der Leitung von Carl Maria von Weber, 1817-1826. Berlin: Colloquium Verlag Otto Hess, 1962. Bergfeld, Joachim (ed.). The Diary of Richard Wagner 1865-1882: The Brown Book. Trans. George Bird. London: Victor Gollancz, 1980. Bermbach, Udo, und Hermann Schreiber (eds.). Götterdämmerung: Der neue Bayreuther Ring. Berlin/München: Propyläen Verlag, 2000. Borchmeyer, Dieter. Richard Wagner: Theory and Theatre. Trans. Stewart Spencer. Oxford: Clarendon Press, 1991. Boulez, Pierre. “Le Temps Re-cherché.” Boulez in Bayreuth: Der Jahrhundert-Ring. Ed. Verlag der Festspielleitung Bayreuth. Baarn: Phonogram International B. V., 1981. 38-47. ---. “Mastro Boulez and Wolfgang Wagner.” Wolfgang Wagner: An Appreciation. Ed. The Wagner Society of Hawaii. Honolulu: Hawaii Opera Publications Group, 2003. 145-148. Bramböck, Peter. München und seine Geschichte. München: Buchhändler Hillenbrand’s Verlag, 1988. Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre. Boston/NewYork/SanFrancisco/MexicoCity/Montreal/Toronto/London/Madrid/Munic h/Paris/Hong Kong/Singapore/Toyko/Cape Town/Sydney: Pearson Education, Inc., 2008. Brown, Bruce Alan. “Gluck, Christoph Willibald, 11: Italian Reform Operas.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. Vol. 21. Oxford: Oxford University Press, 2001. 46-49. Brown, Clive. “Performing Practice.” Wagner in Performance. Eds. Barry Millington and Stewart Spencer. New Haven/London: Yale University Press, 1992. 99-119. Carnegy, Patrick. Wagner and the Art of the Theatre. New Haven/London: Yale University Press, 2006. ---. “Stage History.” Richard Wagner: Die Meistersinger von Nürnberg. Ed. John Warrack. Cambridge: Cambridge University Press, 1994. Chitham, Robert. The Classical Orders of Architecture. Oxford: Architectural Press, 2005. Dace, Wallace. National Theaters in the Larger German and Austrian Cities. New York: Richards Rosen Press, 1980. Dahlhaus, Carl. Richard Wagner’s Music Dramas. Trans. Mary Whittall. Cambridge: Cambridge University Press, 1992. De Osma, Guillermo. Mariano Fortuny: His Life and Work. London: Aurum Press, 1980. Dorst, Tankred. Die Fußspur der Götter: Auf der Suche nach Wagners Ring. München: Süddeutsche Zeitung GmbH, 2006. Edwards, Cyril. The Nibelungenlied: the Lay of the Nibelungs. Oxford: Oxford University Press, 2010. Ellis, William Ashton (ed.). Correspondence of Wagner and Liszt: 1841-1853. Trans. Francis Hueffer. New York: Haskell House Publishers. Endell, Mary, and F. A. G. Endell. Dresden: History, Stage, Gallery. Dresden: Johannes Seifert, 1908. Forsyth, Michael. Buildings for Music: The Architect, the Musician, and the Listener from the Seventeenth Century to the Present Day.
Load more

Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
    [Show full text]
  • WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
    lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • Diegeheimnissederformbeirich
    Intégral 30 (2016) pp. 81–98 Die Geheimnisse der Form bei Richard Wagner: Structure and Drama as Elements of Wagnerian Form* by Matthew Bribitzer-Stull Abstract. Wagnerian operatic forms span a continuum. At one end lie the delin- eated, non-developmental, “structural” kinds of shapes, at the other the “formless” streams of music that arguably depend on the extra-musical for their continuity and coherence. In between we find musical processes that embody more of a senseof motion and development than the fixed structures, but that cohere without the need of a text or programme. In this article I attempt to illustrate this range by applying my analytic methodology to two contrasting examples, one leaning heavily toward the structural (the Todesverkündigung scene from Die Walküre Act II, Scene 4) and the other (the Act II, Scene 2 love duet from Tristan und Isolde) best understood as a musi- cal representation of the drama. The overarching point I make with this comparison is that the range of Wagnerian formal techniques is best served by a flexible, multi- valent analytic orientation. Keywords and phrases: Wagner, opera, form, Alfred Lorenz, Tristan und Isolde, Der Ring des Nibelungen, Die Walküre. Introduction Lorenz’s study was the first serious attempt to present the formal process of the Wagnerian Musikdrama in a system- nyone familiar with Alfred Lorenz’s exhaustive analyses of Der Ring des Nibelungen, Tristan und Isolde, atic, analytic way, an argument against the then-prevalent A 1 Die Meistersinger von Nürnberg, and Parsifal, published be- view that Wagner’s late music was formless.
    [Show full text]
  • Wagner Biography
    GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
    [Show full text]
  • Wagner 'S Das Liebesverbot
    A l WAGNER 'S DAS LIEBESVERBOT THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Danna Behne, B. M. E. Denton, Texas May, 1973 Behne, Danna, Wagner's Das Liebesverbot. Master of Music (Musicology), May, 1973, 192 pp., 162 illustrations, bibliography, 76 titles. Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had be come particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera. Although Das Liebesverbot sounds for the most part like the French and Italian operas after which it was patterned, a few traits of the later Wagner can also be detected. The use of the leitmotif in Das Liebesverbot foreshadows its more highly developed use in the later dramas. The dramatic compactness in this early opera is also a characteristic trait of all of Wagner's operas. Das Liebesverbot was termed a "sin of my youth" by the composer and ordered never to be performed at Bayreuth. This decree was recently broken with the performance of the 1 2 opera by the Bayreuth International Youth Festival. Over the years a few other German and English theaters have staged Das Liebesverbot, among those being Munich, Leipzig, Berlin, Dortmund, Nottingham, and London.
    [Show full text]
  • Richard Wagner on the Practice and Teaching of Singing
    Richard Wagner on the Practice and Teaching of Singing By Peter Bassett [A paper presented to the 8th International Congress of Voice Teachers on 13 July 2013.] Weber and Beethoven were still alive when Wagner was a teenager, and their long shadows, together with those of Mozart and Marschner fell on all his early projects. His first completed opera Die Feen, composed in 1833 when he was just twenty years old, was never performed in his lifetime but, even if it had been, it wouldn’t have sounded as good as it does in the best recorded versions we know today. The type of singing familiar to Wagner was far from ideal, and many German singers of his era were poorly trained and had unsophisticated techniques. His sternest critic, Eduard Hanslick had something to say on the difference between German and Italian singers at that time: ‘With the Italians’ he said, ‘great certainty and evenness throughout the role; with the Germans an unequal alternation of brilliant and mediocre moments, which seems partly accidental.’ Wagner had to entrust his major roles to inadequately trained singers in many cases, which must have been challenging to say the least. He worked hard to improve matters, pouring much time and energy into the preparation of performances. ‘I do not care in the slightest’ he once said, ‘whether my works are performed. What I do care about is that they are performed as I intended them to be. Anyone who cannot, or will not, do so, had better leave them alone.’ David Breckbill has written that ‘The differences between the singing which Wagner knew and that which we hear today are considerable.
    [Show full text]
  • Wagner Ouvertüren & Vorspiele Hiroshi Wakasugi · Staatskapelle Dresden Original Master Tape Wagner’S Miraculous Overtures
    BERLIN CLASSICS ESTABLISHED 1947 Wagner Ouvertüren & Vorspiele Hiroshi Wakasugi · Staatskapelle Dresden Original master tape Wagner’s miraculous overtures It is surely quite miraculous that a man whom success eluded in his early The imitation is sublimely rendered, as this overture brilliantly demon- years went on to become one of the two most significant opera composers of strates. The music critic Christine Lemke-Matwey describes it as the “only the 19th century. showpiece in the score that is known from radio and television broadcasts; an Fired with enthusiasm, the twenty-year-old Richard Wagner embarked on overwhelmingly delightful perpetuum mobile …” the composition of his opera Die Feen (the fairies), based on a play by Carlo What particularly stands out is the way in which major themes from the Gozzi, and completed it as early as 1834. No-one wanted it, though. He did at opera are skilfully elaborated so as to become imprinted in the listener’s memo- least manage to premiere Das Liebesverbot (the ban on love), an excellently con- ry. Wagner would later revert to this technique in the Tannhäuser overture. ceived comic opera based on Shakespeare’s Measure for Measure, at the Magde- Indeed, the opera premiered in Dresden in 1842 was a great success that burg Municipal Theatre on March 29, 1836. However, the second performance enheartened the composer and earned him a permanent post as kapellmeister. had to be cancelled after a fistfight broke out on stage before the curtain had Of course, Wagner could not have foreseen that posterity would later even risen. Incidentally, this scuffle had been triggered by a private conflict discredit Rienzi as a work that does not belong in the Bayreuth canon.
    [Show full text]
  • Livres Et Documents Sur Richard Wagner (1813-1883)
    LIVRES ET DOCUMENTS SUR Richard WAGNER (1813-1883) (Mise à jour le 25 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 Livres et documents sur Richard Wagner (1813-1883) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Richard Wagner, correspondance… 4 C: Biographies, études… 6 D : Ouvrages collectifs, colloques, symposiums… 15 E : Revues… 16 G : Analyses d'œuvres… 17 Wagner dans les ouvrages thématiques… 23 Wagner dans les biographies d'autres compositeurs… 32 PARTITIONS 36 ENREGISTREMENTS SONORES 41 REVUES 64 FONDS D'ARCHIVES 66 ARCHIVES NUMÉRISÉES 75 2 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 LIVRES BIOGRAPHIES DE RICHARD WAGNER A : catalogues… Bayreuth 1876-1976. - Bayreuth : Festspielleitung Bayreuth, 1976. - (BM WAG A14) Dossier Richard Wagner de Roger Commault. - . - (BM WAG A11 (Réserve)) Exposition Richard Wagner : Musée Galliéra, 24 juin-17 juillet 1966. - Paris : Musée Galliéra, 1966. - (BM WAG A13) Richard Wagner Kalender : Merkbüchlein über Richard Wagner's Leben, Werke und Wirken für alle Tage des Jahres. - Wien : Fromme, 1882. - (BM WAG A5 (Réserve)) Richard Wagners photographische Bildnisse. - München : Bruckmann, 1908. - (BM WAG A7) Wagner e Venezia : catalogo della mostra, Palazzo Vendramin-Calergi, 13 febbraio - 31 luglio 1983. - Venezia : Palazzo Vendramin-Calergi, 1983. - (BM WAG A10) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1885. - München : Schmid, 1885. - (BM WAG A5 (Réserve)) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1886. - München Leipzig : Schmid : Leede, 1886. - (BM WAG A5 (Réserve)) ASSOCIAZIONE RICHARD WAGNER DI VENEZIA. - Venezia per Wagner : progetto per la fondazione a Venezia di un museo e di un centro internazionale di studi e di ricerche dedicati a Richard Wagner.
    [Show full text]
  • "Der Welt Erbe Gewänn' Ich Zu Eigen Durch Dich?"
    "DER WELT ERBE GEWÄNN' ICH ZU EIGEN DURCH DICH? " Alberich Erste Szene 1 2 Plakatentwurf Oliver Doerr nach einem Motiv von Franz Stassen Produzent Annette Schumacher Tonmeister Manfred Schumacher, VDT Assistenz Thorsten Schumacher Toningenieur Rüdiger Ebel, VDT Assistenz Klaus-Dieter Günther Michael Hintner Jürgen Köhler Jens Wunsch Miriam Frenke Schnittprotokoll Thorsten Schumacher Schnitt Manfred Schumacher, VDT Tonmischung & Mastering Manfred Schumacher, VDT Martin Rust, VDT Grafik Annette Schumacher Übersetzungen Hannes Rox, Hilary Abuhove, Alexander Kellner Fotografie Thomas Huther, Paul Harris Archiv Staatstheater Kassel Die Fotos basieren auf der Premierenbesetzung des 13. September 1997 Inszenierung Michael Leinert Bühnenbild Walter Perdacher Kostüme Mario Braghieri Dramaturgie Karl Gabriel von Karais Staatstheater Kassel Based on Live Performances 3.3. - 4.4. - 2.5. - 3. + 24.6.1999 4 Richard Wagner 1813-1883 Der Ring des Nibelungen Ein Bühnenfestspiel für drei Tage und einen Vorabend Das Rheingold Vorabend Musikalische Leitung Roberto Paternostro Orchester Staatstheater Kassel Wotan Manfred Volz Donner Cyril Assaf, Sedat Öztoprak Froh Omar Jara Loge Christian Franz Alberich Klaus Wallprecht Mime Manfred Jung Fasolt Markus Hollop Fafner Dieter Hönig Fricka Marisa Altmann-Althausen Freia Inga Fischer, Anja Vincken Erda Silke Marchfeld Woglinde Marisca Mulder, Christa Platzer Wellgunde Petra Schmidt Flosshilde Gundula Schneider 5 6 Booklet-Inhalt - Contents Seite Tracks 8 Die Genealogie im „Ring” - Genealogy in the “Der Ring des
    [Show full text]
  • By Barbara Brady, and Champagne Celebration of Wagner's Birthday, 21 May 2017
    'Wagner And The Fairies' By Barbara Brady, And Champagne Celebration Of Wagner's Birthday, 21 May 2017 2.00pm: Presentation by Barbara Brady followed by Wagner's birthday champagne celebration On 21 May 2017, long-term Society Member Barbara Brady introduced Society members to Wagner’s first opera 'Die Feen', or 'The Fairies'. Barbara and her husband Ian joined the Wagner Society in 1987. She was a member of the Society’s management committee for five years and newsletter editor before Terence Watson. She and Ian have had one visit to Bayreuth with the Society. She has been a long-term volunteer at 2MBS-FM, now called Fine Music. In 2008 she prepared a series called Wagner and Friends, supported by the Wagner Society. The series was repeated in 2013 for Wagner’s bicentenary, again supported by the Society, together with the presentation of Wagner’s 10 major operas, programmed by Colleen Chesterman in At the Opera on Wednesday nights. In 2013, Barbara and Ian went to Leipzig to see Wagner’s first three operas performed. She became enthusiastic about 'Die Feen', 'Das Liebesverbot' and 'Rienzi', believing they have been unjustly neglected; for example they are never performed at Bayreuth. In 2016, she returned to Leipzig to see the operas when they were repeated. Barbara presented us with photographs and some film of the opera, as well as excerpts from recordings. 'Die Feen' is Wagner’s first completed opera, in three acts, composed in Würzburg in 1833, when he was 20 and working at the opera as chorus- master. He could not find any satisfactory German libretti, so he translated Carlo Gozzi’s 'La donna serpente' from the Italian.
    [Show full text]