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.
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