Ariadne Auf Naxos History

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Richard Strauss’ Ariadne auf Naxos HISTORY Premiere There are 2 versions – Version I is in one act, to be played after a German version of Molière’s Le bourgeois gentilhomme . Version II is in a prologue and one act and is the version most commonly used today. Version I Premiere October 25, 1912, at Hoftheater (Kleines Haus) in Stuttgart, with the following cast: Ariadne, Maria Jeritza; Zerbinetta, Margarethe Siems; Bacchus, Hermann Jadlowker; The Composer, Lola Artôt de Padilla; Harlequin, Albin Swoboda; Conductor, Richard Strauss. Version II Premiere October 4, 1916, at Hofoper in Vienna, with the following cast: Ariadne, Maria Jeritza; Zerbinetta, Selma Kurz; Bacchus, Béla von Környey; The Composer, Lotte Lehmann; and Harlequin and The Music-Master, Hans Duhan; Conductor, Franz Schalk. American Premiere Version II was first performed in the U.S. in Philadelphia in 1928. Last Performed by WNO January – February 1994, conducted by Heinz Fricke and Alan Nathan and directed by Roman Terleckyj, with the following cast: : Ariadne, Rachel Gettler and Heidi Jones; Zerbinetta, Jan Grissom; Bacchus, Jon Fredric West; The Composer, Rebecca Russell; Harlequin, Rob Baker. Additional Operas And Works Guntram , May 10, 1894; Weimar Hoftheater Feuersnot , November 21, 1901; Dresden, Hofoper Salome , December 9, 1905; Dresden, Hofoper Elektra , January, 25, 1909; Dresden, Hofoper Der Rosenkavalier , January, 26, 1911; Dresden, Königliches Opernhaus Ariadne auf Naxos , October 25, 1912; Stuttgart, Hoftheater Ariadne auf Naxos [rev], October 4, 1916; Vienna, Hofoper Die Frau ohne Schatten , October 10, 1919; Vienna, Staatsoper Intermezzo , November 4, 1924; Dresden, Staatsoper Die ägyptische Helena , June 6, 1928; Dresden, Staatsoper Washington National Opera www.dc-opera.org 202.295.2400 · 800.US.OPERA Arabella , July 1, 1933; Dresden, Staatsoper Die Schweigsame Frau , June 24, 1935; Dresden, Staatsoper Friedenstag , July 24, 1938; Munich, Staatsoper Daphne , October 15, 1938; Dresden, Staatsoper Die Liebe der Danae , August 14, 1952; Salzburg Festspielhaus Capriccio , October 28, 1942; Munich, Staatsoper Washington National Opera www.dc-opera.org 202.295.2400 · 800.US.OPERA .

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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
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570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings.
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
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1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism
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22 March 2020 Lotte Lehmann's Art 2 2.Iba
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