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25.181 Weber: Euryanthe 25.182 Weber: Euryanthe Personen Carl Maria von Weber König Ludwig der Sechste (Baß) Die Herzogin von Burgund Euryanthe Adolar, Graf zu Nevers und Rethel (Tenor) Euryanthe von Savoyen, seine Braut (Sopran) Romantische Oper in drei Aufzügen Lysiart, Graf von Forest und Beaujolois (Bariton) Eglantine von Pniset, eine Gefangene, Tochter eines Empörers (Mezzosopran) Rudolf, ein Ritter (Tenor) Bertha, ein Landmädchen (Sopran) Ein Brautpaar Fürsten und Fürstinnen. Grafen. Edle, Ritter und Edeldamen. Jagdjunker. Pagen. Herolde. Reisige. Jäger. Geistliche. Chorknaben. Landleute. Spielleu- te. Trompeter. Soldaten. Kinder Ort: Abwechselnd auf dem Königlichen Schlosse zu Préméry und auf der Burg Nevers. Zeit: nach dem Frieden mit England 1110. 25.183 Weber: Euryanthe 25.184 Weber: Euryanthe Rechts und links vom Darsteller. Spielzeit: drei Stunden und fünfzehn Minuten. Ouvertüre. Erste Aufführung: Wien, 25. Oktober 1823. Erster Aufzug Säulenhalle des Königsschlosses mit einem großen Mittelportal, zu dem einige Stufen hinaufführen. An den Säulen sind Waffen, Schilde und Lanzen befestigt. Erster Auftritt Der König. Die Herzogin von Burgund. Adolar. Lysiart. Fürsten. Fürstinnen. Grafen. Ritter und Damen. Pagen. Herolde. Trabanten. Soldaten. Tänzer und Tänzerinnen. Der König sitzt rechts vorn auf dem Thron. Zu seiner Linken stehen die älteren Ehrendamen, zu seiner Rechten die Fürsten. Hinter dem Sitz des Königs stehen zwei Herolde mit goldenen Stäben. In nächster Nähe des Königs sechs Pagen; je zwei stehen zur Rechten und Linken des Thrones, zwei sitzen auf den Stufen desselben; der links Sitzende hält ein rotes Kissen, auf welchem Adolar später kniet; der rechts Sitzende trägt auf einem roten Kissen die goldene Zither, die er später Adolar Operntexte von Monteverdi bis Strauss 25.185 Weber: Euryanthe 25.186 Weber: Euryanthe überreicht. Die Ritter überreichen mit einer Verbeugung den Die Herzogin von Burgund sitzt links vorn auf dem Damen die Blumensträuße. Thron. Hinter ihrem Sitz stehen die Grafen; links Die Hofdamen danken mit tiefer Verneigung. von ihrem Thron die Ehrendamen. Zu jeder Seite des Thrones steht ein Page: der rechts Stehende hält Die Herren und Damen vom Ballett verfahren in auf rotem Kissen einen goldenen Lorbeerkranz; der derselben Weise. links Stehende ebenso einen roten Rosenkranz. Die Ehrendamen, Fürsten und Grafen, Adolar und Adolar steht zur Linken des Königlichen Thrones. Lysiart sind an dieser Ceremonie nicht beteiligt. Lysiart ebenso zur Linken des Thrones der Herzogin CHOR DER RITTER. von Burgund. Den Frauen Heil! den Frauen Heil! Den Frauen Heil! den zarten Schönen, Alle Männer mit bedecktem Haupte. Den Blumen in des Lebens Kranz! Es ist Tag. Wohl ringt der Mut nach Siegesglanz, Doch Liebe muß das Leben krönen. Rechts und links vom Darsteller. ALLE. Nr. 1. Introduktion und Reigen. Der Liebe Preis erfchall' in süßen Tönen, Doch Treue reicht den schönsten Lebenskranz. CHOR DER FRAUEN. Dem Frieden Heil! dem Frieden Heil! Dem Frieden Heil! dem Frieden Heil! Dem Frieden Heil nach Sturmestagen! Ernster Reigen. Heil dieser Feier reiner Lust! Die vier Herolde in der Mitte hinten öffnen die Des Helden Herz in starker Brust Reihe. Darf nun für sanfte Freuden schlagen. Dem Frieden Heil! dem Frieden Heil! Die Herren und Damen vom Ballett treten in den Vordergrund, führen einen ernsten Tanz aus und Die Hofdamen wenden sich den hinter ihnen treten nach dessen Beendigung in ihre frühere stehenden Rittern zu. 25.187 Weber: Euryanthe 25.188 Weber: Euryanthe Stellung zurück. Der vordere Königspage erhebt sich und tritt zu Adolar vor. Recitativ. KÖNIG. KÖNIG. Treuer Adolar! Mein Adolar, so fern dem heitern Reigen, Der froh zur Seite mir im Kampfe war, So trübe bei des Festes Lust? Sei hier auch froh, es töne diesem Kreise ADOLAR tritt etwas nach der Mitte vor. Ein Minnelied zu Euryanthes Preise. Nur Sehnsucht herrscht in meiner Brust, Ihr muß sich selbst die Freude neigen. Adolar zieht die Handschuhe ab, legt sie auf das KÖNIG. Kissen des Pagen und ergreift die Zither; dann Erheitre dich! nimmt er die Mitte. LYSIART für sich. Der vordere Königspage setzt sich wieder auf die O Sorg' um einen Knaben! Stufen. KÖNIG. Beglückend Wiedersehn ist nah! Nr. 2. Romanze. Weilt deine Braut in Nevers? ADOLAR. ADOLAR. Unter blüh'nden Mandelbäumen, Ja, mein König. An der Loire grünem Strand, KÖNIG. O wie selig ist's zu träumen, Heut' noch soll sie Kunde haben, Wo ich meine Liebe fand. Bald soll ihr Anblick dich erfreun, Sie, die Reine, Eine, Meine! Sie wird der Schmuck des Hofes sein. Keusch wie Schnee, wie Rosen mild; ADOLAR. Unter blühn'den Mandelbäumen Liebreichster König! Schwebt um mich ihr süßes Bild. König winkt dem auf den Stufen des Thrones rechts Bei dem goldnen Licht der Sterne, sitzenden Pagen. An der Loire Blütenstrand, Operntexte von Monteverdi bis Strauss 25.189 Weber: Euryanthe 25.190 Weber: Euryanthe Gab der reinsten Liebe gerne Die drei Tänzerinnen stehen im Halbkreis um die Augenstern ein Himmelspfand. Mittelgruppe. Selig, minnig, hold und innig, Aug' in Auge, Mund an Mund; Die Solotänzerin nimmt den goldenen Lorbeerkranz Bei dem Leuchten ew'ger Sterne von dem Kissen des hintern Burgunderpagen und Gab sich Herz dem Herzen kund! schmückt Adolars Zither damit, indem sie den Kranz auf den Hals des Instrumentes hängt. Heil'ger Treue schönste Rose An der Loire Blumenrand, Der hintere Burgunderpage tritt nach links zum Ob auch Sturm und Welle tose, Thron zurück. Blühest du, des Lenzes Pfand! Adolar legt die bekränzte Zither auf das Kissen des Zarte, Reine, Süße, Meine! vordern Königspagen, indem er gleichzeitig von Du mit mir ganz E i n und M e i n : dem Kissen seine Handschuhe nimmt. Heil'ger Treue schönste Rose Blüht in deiner Brust allein! Der vordere Königspage tritt nach rechts an seinen Platz zurück. Der König und die Herzogin von Burgundg geben nach Beendigung der Romanze Adolar ihren Beifall Der hintere Königspage hat inzwischen sein Kissen zu erkennen. vor Adolar niedergelegt. Die Herzogin von Burgund winkt nach hinten. Adolar kniet darauf nieder und entblößt sein Haupt. Eine Solotänzerin tritt mit den drei andern aus der Die Solotänzerin nimmt vom Kissen des vordern Mitte zu Adolar vor. Burgunderpagen den Rosenkranz, setzt ihn Adolar auf und tritt nach einer Verbeugung gegen die Die beiden Burgunderpagen treten nach der Mitte Herzogin von Burgund mit den drei Tänzerinnen an zu Adolar. ihren Platz Mitte hinten zurück. Die beiden Königspagen erheben sich und nähern Der vordere Burgunderpage tritt nach links zum sich Adolar ebenso. Thron zurück. 25.191 Weber: Euryanthe 25.192 Weber: Euryanthe Adolar erhebt sich. Laut, indem er nach der Mitte etwas vor tritt. Der hintere Königspage nimmt das Kissen, auf Hör' an, Graf Adolar, welchem Adolar kniete, auf. Du hast uns hoch ergötzt mit dem Gesang, Wo a l l e danken, nimm auch m e i n e n Dank! Adolar verneigt sich ehrfurchtsvoll zuerst vor der Kein Sänger ringt den Preis dir ab, fürwahr, Herzogin von Burgund, dann vor dem König, nimmt Vergeuden könntest du getrost dein Erbe, den Kranz von seinem Haupt und legt ihn auf das Die Zither sorgt, daß nicht ihr Held verderbe! Kissen des hintern Königspagen. ADOLAR. Der hintere Königspage tritt nach rechts an seinen Gern, Lysiart, üb' ich mich in sanften Weisen, Platz zurück. Für Mißlaut taugt mein gut gestimmtes Eisen. Adolar bedeckt sich wieder und nimmt seinen Der König und die Herzogin von Burgund erheben frühern Platz in der Nähe des Königlichen Thrones sich. wieder ein. LYSIART. Lysiart verfolgt den Vorgang mit neidischen Was zürnst du gleich? Die Weise tadl' ich nicht, Blicken. Doch wohl die Worte vom Gedicht! Hör' auf, der Frauen Treu' so hoch zu preisen; Nr. 3. Chor und Recitativ. Des Meeres Grund hegt Perlen, makelrein, Heil Euryanth'! der Lieblichsten der Schönen, Des Weibes Brust schließt keine Treue ein. Der Liebe Heil, in reiner Unschuld Glanz! Die Herzogin, die Ehrendamen, die Hofdamen, die Dich, Held und Sänger, müsse Ruhm bekrönen, Burgunderpagen, die Tänzer und die Tänzerinnen, Doch Treue reicht den schönsten Lebenskranz. die Figurantenpaare verlassen erzürnt durch das Recitativ. Mittelportal den Saal. LYSIART für sich. Die Königsherolde nehmen hinten Mitte Aufstellung. Ich trag' es nicht! Operntexte von Monteverdi bis Strauss 25.193 Weber: Euryanthe 25.194 Weber: Euryanthe Die Königspagen verharren in ihrer Stellung. Zweiter Auftritt Die Fürsten, Grafen und Ritter füllen in erregten Gruppen den Mittelgrund. Die Vorigen ohne die Frauen und ihre Begleitung. LYSIARD für sich. Schon atm' ich freier! Laut. Was entgegnest du? ADOLAR zu seiner Rechten. Dies acht ich keiner Antwort wert. Komm in den Wald, dort schließet dir mein Schwert, Mit Gott! die gift'gen Lippen zu. LYSIART. Um schnöden Anlaß kämpfen? Nie! Die Warnung gab ich, nütze sie! Mein junger Freund, wärst du der Preis der Ritter, Wär ich der Niedrigste, ich schwör es dir, Die Liebe deiner Braut gewänn' ich mir Trotz deiner Rosenwang' und goldnen Zither! ADOLAR wirft Lysiart seinen Handschuh vor die Füße. Erbärmlich eitler Prahler nenn' ich dich, Den Handschuh nimm! dich lehr' ich Frauen ehren! LYSIART. Ich nehm' ihn nicht. Besiegtest du gleich mich, 25.195 Weber: Euryanthe 25.196 Weber: Euryanthe Doch unbesiegt noch meine Gründe wären. Kannst Euryanthes Liebe du gewinnen, Wag' es getrost, bekämpfe die! So nimm mein Gold, mein Gut, mein Land! Du prüftest wohl die Teure nie? Zerrissen sei dann jedes süße Band, ADOLAR. Die Heimat meid' ich! Für Euryanthe bürgt der Glaube LYSIART. In meiner Brust! Alles nach Gefallen! LYSIART. Wie schön wirst du mit Kranz und Zither wallen! Du fromme Turteltaube, ADOLAR. Dein Glück zu stören trüg' ich Scheu! Vermessener! Frohlocke nicht! KÖNIG. Schlägt es dir fehl, ruf' ich zum Gottgericht, Mein Adolar, laß ab von diesem Streite! Dich Frevler, alsobald – LYSIART. LYSIART. Du hörst, die Weisheit ist auf meiner Seite! Wohl! des sind alle Zeugen! ADOLAR. BEIDE. Mein Gut und Blut an Euryanthes Treu'! Es gilt, wohlan! CHOR. Nr. 4. Terzett mit Chor. Vermessenes Beginnen! LYSIART.
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  • German Writers on German Opera, 1798–1830

    German Writers on German Opera, 1798–1830

    ! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage.
  • RBF Program 4-16 2

    RBF Program 4-16 2

    the richard b. fisher center for the performing arts at bard college Carl Maria von Weber’s Euryanthe July 25 – August 3, 2014 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which fea- tures a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 25th year in August with “Schubert and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the con- tributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. The 2014 SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from The Andrew W.