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Opernaufführungen in Stuttgart
Opernaufführungen in Stuttgart ORIGINALTITEL AUFFÜHRUNGSTITEL GATTUNG LIBRETTIST KOMPONIST AUFFÜHRUNGSDATEN (G=Gastspiel)(L=Ludwigsburg)(C=Cannstatt) Euryanthe Euryanthe Oper Helemine von Chezy C(arl M(aria) von 1833: 13.03. ; 28.04. - 1863: 01.02. - 1864: 17.01. - Weber 1881; 12.02. (Ouverture) - 1887: 20.06 (Ouverture) - 1890: 16.02. ; 26.03. ; 25.09. ; 02.11. - 1893: 07.06 - Abu Hassan Oper in 1 Akt Franz Karl Hiemer Carl Maria von Weber 1811: 10.07. - 1824: 08.12. - 1825: 07.01. Achille Achilles Große heroische Nach dem Ferdinand Paer 1803: 30.09. ; 03.10. ; 31.10. ; 18.11. - 1804: Oper in 3 Akten Italienischen des 23.03. ; 18.11. - 1805: 17.06. ; 03.11. ; 01.12. - Giovanni DeGamerra 1806: 18.05. - 1807: 14.06. ; 01.12. - 1808: 18.09. - von Franz Anton 1809: 08.09. - 1810: 01.04. ; 29.07. - 1812: 09.02. ; Maurer 01.11. - 1813: 31.10. - 1816: 11.02. ; 09.06. - 1817: 01.06. - 1818: 01.03. - 1820: 15.01. - 1823: 17.12. - 1826: 08.02. Adelaide di Adelheit von Guesclin Große heroische Aus dem Italienischen Simon Mayr 1805: 21.07. ; 02.08. ; 22.09. - 1806: 02.03. ; 14. 09. Guescelino Oper in 2 Akten ; 16.09. (L). - 1807: 22.02. ; 30.08.(L) ; 06.09. - 1809: 07.04. - 1810: 11.04. - 1814: 28.08.(L) ; 09.10. - 1816: 05.05. ; 18.08. Adelina (auch Adeline Oper in 1 Akt Nach dem Pietro Generali 1818: 23.03. Luigina, Luisina) Italienischen von Franz Karl Hiemer - Des Adlers Horst Romantisch- Carl von Holtei Franz Gläser 1852: 30.04. ; 02.05. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Maezene Kurzbio Korr
Biographische Skizzen der Angehörigen des Leopoldstädter Theaterbetriebes Mäzene des Kasperls Biographische Skizzen http://lithes.uni-graz.at/maezene/ Die Kurzbiographien bieten einen knappen Überblick über die wesentlichsten Daten von: A. Personen, die eine Funktion am Leopoldstädter Theater innehatten – dazu zählen Ensemble- mitglieder (Schauspieler und Schauspielerinnen, Tänzer und Tänzerinnen, Sänger und Sängerinnen) wie allgemeines Personal (Mitglieder der Direktion, Souffleure, Wöchner, Theaterkassiere, Theatermaler und Dekorateure, Zettelausträger) B. Theaterdichter und Musiker, die für die Gestaltung des Spielplans des Leopoldstädter Theaters von wesentlicher Bedeutung waren. Zusätzlich werden zur Charakterisierung der Personen, soweit bekannt, Quellenmaterial zeit- genössischer (Broschüren-)Autoren und die mitunter sehr aufschlussreichen Tagebucheinträge des Musikdirektors und Hauskomponisten des Leopoldstädter Theaters Wenzel Müller herangezogen. Die angeführten Rollen wurden den bekannten Theaterzetteln (jene mit Datum) bzw. auch den Rollenverzeichnissen, die unregelmäßig dem jeweilig edierten Druck beigefügt wurden (jene ohne Datum), entnommen. Verwendete Literatur (wenn nicht anders angegeben): Allgemeine Deutsche Biographie (ADB); Deutsches Theater-Lexikon; Gugitz, Weiland Kasperl; Gräffer, Wiener Memoiren; k. k. privil. Theater in der Leopoldstadt (Theaterzettelsammlung); Kahn, Leopold Huber; Müller, Tagebuch; Neue Deutsche Biographie (NDB); Österreichisches Musiklexikon Online; Pies, Prinzipale; Stranden, Unpartheyische -
Das Lachen Und Das Komische I Zeitschrift Für Literatur- Und Theatersoziologie Herausgegeben Von Beatrix Müller-Kampel Und Helmut Kuzmics
Zeitschrift für Literatur- und http://lithes.uni-graz.at/lithes/12_07.html Theatersoziologie Herausgegeben von Beatrix Müller-Kampel und Helmut Kuzmics NUMMER 7 (MÄRZ 2012) Das Lachen und das Komische I Zeitschrift für Literatur- und Theatersoziologie Herausgegeben von Beatrix Müller-Kampel und Helmut Kuzmics NUMMER 7 (MÄRZ 2012) Das Lachen und das Komische I Medieninhaber und Verleger LiTheS. Ein Forschungs-, Dokumentations- und Lehrschwerpunkt am Institut für Germanistik der Universität Graz Leitung: Beatrix Müller-Kampel Herausgeber Ao. Univ.-Prof. Dr. Beatrix Müller-Kampel Institut für Germanistik der Universität Graz Mozartgasse 8 / P, A-8010 Graz Tel.: ++43 / (0)316 / 380–2453 E-Mail: [email protected] Fax: ++43 / (0)316 / 380–9761 Ao. Univ.-Prof. Dr. Helmut Kuzmics Institut für Soziologie der Universität Graz Universitätsstraße 15 / G 4, A-8010 Graz Tel.: ++43 / (0)316 / 380–3551 E-Mail: [email protected] Lektorat Mag. phil. Evelyn Zechner E-Mail: [email protected] Umschlagbild © Fotos von Burkhard Gager und Margarete Payer Gestaltung und Satz mp – design und text / Dr. Margarete Payer Gartengasse 13 / 3 / 11, 8010 Graz Tel.: ++43 / (0)316 / 91 44 68 oder 0664 / 32 23 790 E-Mail: [email protected] © Copyright »LiTheS. Zeitschrift für Literatur- und Theatersoziologie« erscheint halbjährlich im Internet unter der Adresse »http://lithes.uni-graz.at/lithes/«. Ansicht, Download und Ausdruck sind kostenlos. Namentlich gezeichnete Beiträge geben immer die Meinung des Autors oder der Autorin wieder und müssen nicht mit jener der Herausgeber identisch sein. Wenn nicht anders vermerkt, verbleibt das Urheberrecht bei den einzelnen Beiträgern. -
DIEQP. Jqre. by ALBERT LORTZING
** %*mo DIEQP. jQRE. BY ALBERT LORTZING: A CRITICAL EDITION THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Jan L. McDaniel Denton, Texas August 1990 McDaniel, Jan L., Die Opernprobe .yi...Latagm$ .Q i..ga.L EditiQn. Master of Music (Musicology), August, 1990, 192 pp., bibliography, 56 titles. The purpose of the present edition of Albert Lortzing's DiA..QPar k is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Di.& Qprapx.g., the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes. Copyright by Jan L. McDaniel 1990 iii TABLE OF CONTENTS Page INTRODUCTION AND BIBLIOGRAPHY. 1 THE FULL SCORE OUVERTORE . ......... ....... 36 1. INTRODUCTION..... ........ 47 (Hannchen, chorus) 2. DUETT................... .............58 (Adolph, Johann) 3. ARIE........... ... ... ........ 68 (Hannchen) 4. RECITATIV . 80 (Count, Christoph) 5. SEXTETT................. ........ 83 (Hannchen, Louise, Grifin, Adolph, Johann, Graf) 6. CAVATINE . 99 (Adolph) 7. RECITATIV . .103 (Adolph, Johann) 8. RECITATIV . .............. ........ 107 (Hannchen, Louise, Countess, Adolph, Johann, Count) 9. DUETT .. *.........................109 (Hannchen, Johann) 10. -
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. -
(1787–1857) Vídeňský Komik V Praze
WENZEL SCHOLZ (1787–1857) vídeňský komik v Praze Vlasta Reittererová Institut umění – Divadelní ústav Předložená monografie vznikla za finanční podpory Ministerstva kultury v rámci institucionálního financování dlouhodobého koncepčního rozvoje výzkumné organizace Institut umění – Divadelní ústav (DKRVO 2015, MK000023205). Recenzent: PhDr. Adolf Scherl, CSc. Na titulní straně výjev z grafického listu Antona Johanna Gareise staršího Herrn Schauspieler Scholz achtungsvoll gewidmet – Chrysostomus Staberl, Parapluiemacher. Děkujeme Národní galerii v Praze a Národnímu muzeu za svolení k použití obrazových dokumentů z jejich sbírek. © Vlasta Reittererová, 2015 Fotografie © Národní galerie, 2015 Typografie © Honza Petružela, 2015 © Institut umění – Divadelní ústav, 2015 ISBN 978-80-7008-355-0 Obsah Úvodem 5 Wenzel Scholz jako člověk a komik 6 Vídeňská fraška a její herci 6 Scholzův život a herecký typ 10 Ohlasy a repertoár pražských hostování 16 Další Scholzovi současníci a nástupci 20 Fraška, jak ji viděla kritika 23 Pražská kritika 29 Exkurz: Johann Nestroy jako herec a autor v očích pražské kritiky 30 Česká scéna 40 Epilog 42 Přehled Scholzových pražských vystoupení 46 Vybrané kritiky Scholzových pražských vystoupení 61 Dokumenty 108 Scholzovy paměti 108 Wenzel Scholz: Události a pozoruhodnosti 110 Jak byl objeven komik Scholz 130 Měšťané ve Vídni a pražský pamětní list 131 Resumé 144 Vlasta Reittererová WENZEL SCHOLZ Úvodem Na začátku této práce stál dosud neznámý grafický list s patnácti výjevy nazvaný Herrn Schauspieler Scholz achtungsvoll gewidmet, ulo- žený ve fondu Národní galerie v Praze. Vznikl v pražské dílně lito- grafa a karikaturisty Antona Johanna Gareise staršího a jeho detai- ly svědčí o tom, že je věnován pražskému hostování vídeňského ko- mika Wenzela Scholze v roce 1831 a jeho vystoupení v představe- ní Bäuerleho frašky Die Bürger in Wien. -
Ödön Von Horváth's Volksstücke
Ödön von Horváth’s Volksstücke. Sounds and silences in dramaturgy and theatrical performance Alina Sofronie A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Humanities and Languages Faculty of Arts and Social Sciences University of New South Wales November 2016 ORIGINALITY STATEMENT I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed ………………………… Date ……………………………… i ACKNOWLEDGEMENTS I wish to thank my supervisors, Dr Robert Buch, School of Humanities and Languages, Associate Professor Gerhard Fischer, School of Humanities and Languages, and Dr Meg Mumford, School of the Arts and Media, for the provision of their time, experience and advice. I have appreciated their constructive criticism and guidance during the development of this thesis. Throughout my candidature they have offered me support -
Gustav Mahler's Third Symphony
Gustav Mahler’s Third Symphony: Program, Reception, and Evocations of the Popular by Timothy David Freeze A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology) in The University of Michigan 2010 Doctoral Committee: Associate Professor Steven M. Whiting, Co-Chair Professor Albrecht Riethmüller, Freie Universität Berlin, Co-Chair Professor Roland J. Wiley Professor Michael D. Bonner Associate Professor Mark A. Clague © 2010 Timothy David Freeze All rights reserved To Grit ii ACKNOWLEDGMENTS The road leading to the completion of this dissertation was longer and more scenic than I ever intended it to be. It is a great pleasure to acknowledge here the many individuals and organizations that provided support and encouragement along the way. I am especially grateful to the co-chairs of my committee. Without the unflagging support of Steven M. Whiting, whose sage counsel on matters musical and practical guided me from start to finish, this project would not have been possible. I am equally indebted to Albrecht Riethmüller, whose insight and intellectual example were a beacon by whose light this dissertation took shape. I would also like to thank R. John Wiley, whose extensive and penetrating feedback improved the dissertation and my own thinking in countless ways, and Mark Clague and Michael Bonner, both of whom provided valuable comments on content and style. In Ann Arbor, I would like to acknowledge the support of the entire musicology faculty at the University of Michigan. Louise K. Stein gave helpful advice in the early stages of this project. In Berlin, I benefited from conversations with Federico Celestini, Sherri Jones, and Peter Moormann. -
ACTIEN-VOLKSTHEATER Repertoire Der Spielzeiten 1865
ACTIEN-VOLKSTHEATER Repertoire der Spielzeiten 1865 –1872/73 KÖNIGLICHES THEATER AM GÄRTNERPLATZ Repertoire der Spielzeiten 1873/74 – 1917/18 GÄRTNERPLATZTHEATER Repertoire der Spielzeiten 1918/19 – 1930/31 Eine chronologische Dokumentation Redaktion: Dr. Thomas Siedhoff unter Verwendung der von Elke Schöninger zusammengestellten Daten Zur Benutzung Der Katalog des Gesamtrepertoires folgt den Ankündigungen auf den Theaterzetteln, den Programmheften mit ihren Besetzungszetteln sowie der Tagespresse. Diese Daten enthalten nicht selten Fehler und/oder sind unvollständig. Den die wissenschftliche Brücke zwischen täglichem Theaterbetrieb und dokumentarischem Ehrgeiz und forschungsverbundener Annäherung an den Spielplan und dessen Profil bauenden Dramaturgen gab es frühestens zu Beginn des 20. Jahrhunderts. Daher wird/wurde der Gesamtkatalog möglichst eingehend bibliographiert und ergänzt. Diese Angaben stehen in [eckigen Klammern]. Die in KAPITÄLCHEN gesetzten TITEL fogen der Schreibweise der Ankündigung, die Schreibweise der Gattungbezeichnungen wurden behutsam den heutigen Usancen angeglichen. Die Datierungen der Enstehung möglichst aller aufgeführten Werke sollen über die jeweilige Aktualität die des Spielplans informieren. Diese Daten folgen nach Möglichkeit dem Jahr der Uraufführung, ansonsten jenem der ersten Drucklegung – entweder als Bühnenmanuskript oder als öffentliche Buchausgabe. Die eingerückten Datensätze und rot markierten bezeichnen Gastspiele ohne Mitwirkung des Gärtnerplatztheater-Ensembles; nicht eingerückte Datensätze bezeichnen -
Music Library
RECENT ACQUISITIONS Music Library NOTABLE ACQUISITIONS 1985-1994 M. Turner THE previous report of notable acquisitions of printed music, published in 1985, covered some twenty-tw^o years, from 1964 to early 1985.^ The present survey covers a period of less than half this extent. Nevertheless it demonstrates that the Music Library, far from resting on its laurels, has continued to maintain the pre-eminence of its existing collections by a vigorous programme of acquisitions ranging widely both geographically and temporally, a programme that has been made possible by continuing support for the Music Library's purchase budget from the Directorate of Special Collections. The principal criterion for inclusion in this, necessarily highly selective, list is the intrinsic interest or importance of a given item, but a secondary consideration has been a desire to reflect the diversity encompassed by the Library's collecting policy. The form of this report broadly follows that of its predecessor. In Section I, the main sequence, items are arranged chronologically. However it should be borne in mind that printed music differs from printed books in that it is the exception rather than the rule for an edition to be dated by the publisher. Dates given in square brackets have therefore been assigned, with varying degrees of certainty, on the basis of external evidence. Title- page transcriptions have been kept brief, and only numbered pagination or foliation is given (and none for sets of parts). With the exception of sixteenth- and seventeenth- century editions the imprint is normally given in a standardized form. Certain types of publication have been dealt with much more summarily in Sections II-V. -
German Opera and Operetta at the New Orleans National Theatre, 1866--1878
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 German Opera and Operetta at the New Orleans National Theatre, 1866--1878. H. Edward Dacus Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Dacus, H. Edward Jr, "German Opera and Operetta at the New Orleans National Theatre, 1866--1878." (1999). LSU Historical Dissertations and Theses. 7076. https://digitalcommons.lsu.edu/gradschool_disstheses/7076 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.