Wagner Quarterly 154 September 2019
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Das Nibelungenlied Als Projektionsfläche Für Die Gegenwart
Das Nibelungenlied als Projektionsfläche für die Gegenwart Das Beispiel von Moritz RinkesDie Nibelungen und János TéreysA Nibelung-lakópark Dissertation Wissenschaftlicher Betreuer: Prof. Dr. Árpád Bemáth Vorgelegt von: Enikő Dácz Universität Szeged 2009 I Vorwort Dass die Arbeit in vorliegender Form entstehen konnte, ist der vielfachen Unterstützung, die der Verfasserin erhielt, zu verdanken. An erster Stelle danke ich Herrn Prof. Dr. Franz-Josef Holznagel vom Institut für Germanistik der Universität Rostock, der mir von Anfang an zur Seite stand und mit seinen wertvollen Anregungen und stetiger Unterstützung wesentlich zum Gelingen der Arbeit beitrug. Für den institutionellen Rahmen danke ich dem Germanistiklehrstuhl in Szeged und Prof. Dr. Árpád Bernáth, sie gaben mir die Möglichkeit, durch Diskussionen Erfahrungen für meine Arbeit zu sammeln. Für die mehrfache und zeitaufwendige Korrektur möchte ich besonders Dr. Helen Oplatka und Margit Dirnberger danken. Dr. Helen Oplatka und Prof. Dr. Andreas Oplatka danke ich auch für ihre Unterstützung und die stets ermunternden Gespräche. Ebenso fühle ich mich vielen Fachleuten verpflichtet, die mich während meinen Aufenthalten in Deutschland und Österreich mit fachlichem Rat unterstützt haben. Dank geht an Prof. Dr. Manfred Kern, Prof. Dr. Ulrich Müller, Prof. Dr. Claudia Brinker- von der Heyde und Dr. Siegrid Schmidt. Ein weiterer Dank geht an Dr. László Jónácsik, dessen Bemerkungen zur Dissertation bei den Korrekturen wichtig waren. Dass ich das Promotionsstudium anfangen konnte, verdanke ich u.a. Dr. habil. Stefan Trappen und Dr. Tünde Katona, die mich unterstützt haben. Ohne das Ungarische Staatliche Stipendium bzw. die Stipendien vom ÖAD, DAAD, vom Land Baden-Württemberg und der schweizerisch-ungarischen Stipendienstiftung an der Andrássy Gyula Deutschsprachige Universität Budapest hätte die Arbeit ebenso nicht entstehen können. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. -
Ebook Download Wagners Ring Turning the Sky Around
WAGNERS RING TURNING THE SKY AROUND - AN INTRODUCTION TO THE RING OF THE NIBELUNG 1ST EDITION PDF, EPUB, EBOOK M Owen Lee | 9780879101862 | | | | | Wagners Ring Turning the Sky Around - An Introduction to the Ring of the Nibelung 1st edition PDF Book It is even possible for the orchestra to convey ideas that are hidden from the characters themselves—an idea that later found its way into film scores. Unfamiliarity with Wagner constitutes an ignorance of, well, Wagnerian proportions. Some of my friends have seen far more than these. This section does not cite any sources. Digital watches chime the hour in half-diminished seventh chords. The daughters of the Rhine come up and pull Hagen into the depth of the Rhine. The plot synopses were helpful, but some of the deep psychological analysis was a bit boring. Next he encounters Wotan his grandfather , quarrels with him and cuts Wotan's staff of power in half. The next possessor of the ring, the giant Fafner, consumed with greed and lust for power, kills his brother, Fasolt, taking the spoils to the deep forest while the gods enter Valhalla to some of the most glorious and ironically triumphant music imaginable. Has underlining on pages. John shares his recipe for Nectar of the Gods. April Learn how and when to remove this template message. It's actually OK because that's what Wotan decreed for her anyway: First one up there shall have you. See Article History. Politics and music often go together. It left me at a whole new level of self-awareness, and has for all the years that have followed given me pleasures and insights that have enriched my life. -
Rheingold Im Zeitraffer
[email protected] 4 Mindener Tageblatt Minden Nr. 210 · Donnerstag, 10. September 2015 Rheingold im Zeitraffer Jugendclub des Stadttheaters verkürzt Wagners Werk auf 20 Minuten. Elf Jugendliche nehmen sich der anspruchsvollen Aufgabe an. Originalzitate wechseln sich mit coolen Sprüchen ab. Von Kerstin Rickert Termine Minden (kr). Wie kann man „Das Rheingold“ so reduziert ■ Samstag, 12. Septem- und leicht verständlich prä- ber: Kindertag, Leteln sentieren, dass auch Kinder (15 Uhr), Lange Nacht und Jugendliche einen Ein- der Kultur, Theater im blick erhalten, die damit nor- Café des Stadttheaters malerweise nicht in Berüh- (18:30 Uhr) rung kommen? Mit dieser Frage hat sich ■ Samstag, 19. Septem- „FreezeKekse“, der „kleine“ Ju- ber, 15:30 Uhr: Jugend- gendclub des Stadttheaters haus Geschwister Minden, auseinandergesetzt – Scholl, Bärenkämpen und das Rheingold auf 20 Mi- nuten heruntergebrochen. „Fast Rheingold“ ist das Ergeb- nis intensiver Beschäftigung tan: „Und wie ist das mit Zin- mit Wagners Vorlage, der sich sen, versteckten Kosten, elf theaterbegeisterte Mäd- Abos?“, geht dann aber auf chen zwischen 13 und 17 Jah- den Vorschlag ein. ren gestellt haben. Nach mo- Mit einem Lied auf den Lip- natelanger Arbeit gehen sie pen („Das Wandern ist der nun mit ihrer ganz eigenen Götter Lust“) machen sich Wo- Rheingold-Rezeption auf tan und Loge auf die Suche Tournee durch Minden. nach Alberich, um ihm das Jugendhäuser und Kinder- Rheingold abzunehmen. Mit feste gehören ebenso zu den einem Regenschirm stochern Auftrittsorten wie ein Alten- sie in der Luft, denn Alberich heim. Denn die Jugendlichen ist dank des Tarnhelms seines Wagner als Straßentheater in 20 Minuten: Die Rheintöchter spielen mit dem Rheingold. -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
I Recorded the Complete Schumann
media release Tuesday 20 June 2017 FOR IMMEDIATE RELEASE TSO’s Tristan und Isolde nominated for 2017 Helpmann Award The Tasmanian Symphony Orchestra was last night included in the list of nominees for the 17th Annual Helpmann Awards in the category ‘Best Symphony Orchestra Concert’ for its acclaimed concert performance of Wagner’s Tristan und Isolde. The concert, which took place on November 19, 2016 at Federation Concert Hall in Hobart, featured world-renowned Swedish soprano Nina Stemme and Australian heldentenor Stuart Skelton reprising their roles as Wagner’s star-crossed lovers direct from The Metropolitan Opera in New York, and was conducted by TSO Chief Conductor and Artistic Director Marko Letonja. Renowned mezzo-soprano Monika Bohinec was also featured in the role of Brangäne. A major cultural coup for Tasmania, concert-goers travelled from all over the country as well as overseas to attend the one-off performance which was greeted with a resounding and spontaneous standing ovation. Established in 2001 by Live Performance Australia (LPA) the annual Helpmann Awards, celebrate and promote the Australian live performance industry, similar to the Tony Awards on Broadway and the Olivier Awards in London, and acknowledge distinguished artistic Federation Concert Hall 1 Davey Street, Hobart, Tasmania, 7000, Australia GPO Box 1450, Hobart, Tasmania, 7001, Australia Telephone (03) 6232 4411 International +61 3 6232 4411 Facsimile (03) 6232 4455 International +61 3 6232 4455 Email [email protected] Website www.tso.com.au achievement and excellence in the many disciplines of Australia's vibrant live performance sectors. The TSO was previously recognised with a 2016 Helpmann Award in the category ‘Best Australian Contemporary Concert’ for its contribution to the concert ‘Kate Miller-Heidke and the Tasmanian Symphony Orchestra with visuals by Amy Gebhardt’ which was part of MOFO 2016. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
Wagner-Wunder Fing Mit Mozart An
4 Mindener Tageblatt · Montag, 31. August 2015 · Nr. 201 Minden Nr. 201 · Montag, 31. August 2015 · Mindener Tageblatt 5 1840 Wagner-Wunder Matthias Lippert gestaltet die 1848 bis 1874 Frank Philipp Schlößmann ge- Video-Einspielungen. Er hat in Richard Wagner komponiert mit Unterbrechungen 1850 staltet das Bühnenbild für Min- diesem Jahr mit Schlößmann in den Opernzyklus „Der Ring des Nibelungen“, dens „Ring“. Er gestaltete auch Bayreuth bei „Tristan und bestehend aus Das Rheingold, Die Walküre, fing mit den Dorst-Ring in Bayreuth. Isolde“ zusammengearbeitet. Siegfried und Götterdämmerung g1860 Mozart an 1870 Am 9. September feiert Mindens „Rheingold“ n Premiere und markiert einen Quantensprung. 13. August 1876 Uraufführung der Oper Rheingold im neuen 1880 i Bayreuther Festspielhaus in der Inszenierung Von Ursula Koch schmieden. 2019 sollen alle vier Teile 1884-1886 von Richard Wagner, dirigiert von Hans Richter. gespielt werden. Es ist eine Mammut- Erstaufführung an der Semperoper Wagner urteilt anschließend: „Ich und mein Werk Minden (mt). Opern-Produktionen ha- Aufgabe, der sich die Partner damit stel- in Dresden haben keinen Boden in dieser Zeit“ ben am Mindener Stadttheater seit 1994 len, die vor allem mit Hilfe privater 1890 Tradition. Insofern ist es fast schon das Sponsoren finanziert werden soll. 1882 gewohnte Geschäft, wenn sich am 9. Sep- Gerd Heinz, langjähriger Intendant Erste Ring-Aufführung außerhalb Bayreuths durch tember der Vorhang zu Wagners „Rhein- des Schauspielhauses Zürich und Pro- R Angelo Neumann mit einer Wanderbühne gold“ öffnet. Und doch markiert diese fessor an der Musikhochschule Freiburg Premiere einen gewaltigen Sprung. und seit seiner Emeritierung 2008 wie- 1900 Die Anfänge reichen in das Jahr 1994 der als freier Regisseur tätig, hat seinen zurück. -
Review 'Classical Style' at Ojai Music Festival Draws on Wit, Wisdom
Review 'Classical Style' at Ojai Music Festival draws on wit, wisdom By Mark Swed June 17, 2014 OJAI — Charles Rosen's "The Classical Style" is an illuminating, academic, occasionally combative, close study of the musical style of Mozart, Haydn and Beethoven by a brilliant pianist and scholar who died in 2012. Though a technical tome, it takes on big, universal issues and proved a surprise hit of 1971, winning a National Book Award and reaching a remarkably wide audience. Rosen's 43-year-old book, never out of print, pulled a bigger surprise Friday as the subject for the first opera commissioned in the 68-year history of the Ojai Music Festival. The rules of musical form attempted a spectacularly absurd leap off the library shelf onto the lyric stage in the form of Steven Stucky's "The Classical Style: An Opera (of Sorts)." If this sounds like a somewhat ridiculous centerpiece for festival programming that revolved around issues of reinterpreting the Classical era (and will be reviewed further Tuesday), that of course was the point. The whole thing is so side-splitting that one rehearsal reportedly broke down when conductor Robert Spano had an uncontrollable laughing fit and had to be carried off the stage to recover. He was entitled. "The Classical Style" is a mash-up of Glenn Gould at his most satirical, PDQ Bach at his sauciest and a distractedly erudite Rosen cooking up a French sauce while pontificating on harmonic structure in his kitchen. But underlying the jokes (good ones and the groaners) and tomfoolery, Stucky's resourceful score and Denk's droll text produce an ingeniously eloquent musing on the meaning of life. -
Andreas Ottensamer: Der Seelenbohrer Schätze Für Die Nackte Den Plattenschrank 57 Gulasch-Kanone 22 Boulevard: Tianwa Yang: Bunte Klassik 58 25.07
Das Klassik & Jazz Magazin 2/2015 HILLE PERL Unter Strom Bryan Hymel und Piotr Beczała: Zeit für Helden Frank Peter Zimmermann: Feilen am perfekten Klang François Leleux: Seelenbohrer Pierre Boulez: Maître der Moderne Immer samstags aktuell www.rondomagazin.de Foto: Rankin Foto: Foto: Shervin Lainez Foto: 7. bis 16. maiSchirmherr: Oberbürgermeister 2015 Jürgen Nimptsch Nigel Kennedy Lizz Wright Foto: Ferrigato Foto: Foto: Stephen Freiheit Stephen Foto: onn www.jazzfest-bonn.de zfest Marilyn Mazur Wolfgang Muthspiel b Karten an allen Do 7.5. Post Tower Mo 11.5. Brotfabrik VVK-Stellen Pat Martino Trio Peter Evans – Zebulon Trio z und unter www.bonnticket.de Ulita Knaus Hanno Busch Trio Fr 8.5. LVR-LandesMuseum Bonn Di 12.5. Haus der Geschichte Anke Helfrich Trio Wolfgang Muthspiel Trio Norbert Gottschalk Quintett Efrat Alony Trio Sa 9.5. Universität Bonn Mi 13.5. Bundeskunsthalle ja Lizz Wright Marilyn Mazur‘s Celestial Circle Stefan Schultze – Large Ensemble Frederik Köster – Die Verwandlung So 10.5. Volksbank-Haus Do 14.5. Beethoven-Haus Bonn Michael Schiefel & David Friedman Enrico Rava meets Michael Heupel Gianluca Petrella & Giovanni Guidi Julia Kadel Trio Fr 15.5. Bundeskunsthalle Franco Ambrosetti Sextet feat. Terri Lyne Carrington, Greg Osby, Buster Williams WDR Big Band & Erik Truffaz Sa 16.5. Telekom Forum Nigel Kennedy plays Jimi Hendrix Rebecca Treschers Ensemble 11 Fotos: Johannes Gontarski; Dario Acosta/Warner Classics; Georg Thum/Sony; Lars Borges/Mercury Calssics; Friedrun Reinhold Calssics; Friedrun Borges/Mercury Dario Thum/Sony; Acosta/Warner Lars Johannes Gontarski; Classics; Georg Fotos: 2 Rondo.indd 1 09.02.15 15:26 Lust auf Themen Musikstadt: St. -
Acting Justice Jane Mathews AO
INTERVIEW Acting Justice Jane Mathews AO Tina Jowett1 spoke with Acting Justice Jane Mathews for Bar News about her experiences as one of the few women at the bar and the bench in the 1960s to 1980s. Jane Mathews was born and raised in Wollongong. She boarded at the Frensham School in Mittagong until she completed the leaving certificate2 and was only one of two girls who then attended university. Bar News: What motivated you to study law? Mathews: That’s easy; when I was 14 years old my school showed the movie of the Terence Rattigan play, The Winslow Boy.3 It was about a school boy who was wrongly charged with stealing. The lawyer representing him, played by Robert Donat, got up before the House of Lords at the end of the movie and said, ‘let justice be done.’ And that just got to my idealistic 14 year old heart and the next holidays I went home and said to my parents, ‘I’m going to study law.’ My father, who was very conservative in some things said, ‘No daughter of mine is going to do law.’ He thought it would be a complete waste of time and I’d go off and get married and have babies. My mother was delighted. She came from a family of lawyers. But my father wasn’t happy about it. So I spent a couple of years persuading him to let me and he finally relented so I went to to be a solicitor anymore, I’ll be a barrister’! You applied to Sydney University.