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Arnold Jacobshagen MUSIC THEATRE In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 244–273 Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel | Scene from Richard Wagner’s Tannhäuser in a staging by Romeo Castellucci at the Bavarian State Opera (2016-17) MUSIC THEATRE 9 More than seven million people attended music theatre performances in Germany during the 2016-17 season. Half of the over 11,500 events presented were opera performances, followed by dance, musicals and operettas. Here Arnold Jacobs hagen writes about underlying conditions, staff mem- bers and developments in the repertoire. 244 245 Music Theatre | | Arnold Jacobshagen View fromom the stagge into the audiitotort ium of thee Baavarv ian Statea Opera, Muniu ch MUSIC THEATRE Music theatre with its various genres – opera, dance, musical and operetta – is clearly the favourite with Germany’s theatre audiences. The 2016-17 season saw a total of 7.2 million visits to such performances in Germany, of which some 3.8 involved opera, 1.6 million dance, 1.4 million musical productions and 400,000 ௘operetta. In the same season there were roughly 5.2 million visits to per- formances of spoken theatre.1 The infrastructure that sustains this tradition is cor- respondingly expansive. Germany has 83 fully professional, publicly funded opera houses or opera divisions in multifunctional theatres. These are augmented by many independent ensembles performing opera, dance and musicals, professional private theatres (especially for musicals) and national and international festivals offering a wide variety of productions. Their distribution among Germany’s types of music theatre constitutes what might be called the ‘music theatre market’. Op eras make up approximately half of all stage performances; musicals account for another 20 per cent, as do ballet and dance theatre combined, with operettas THE GERMAN THEATRE SYSTEM mak ing up roughly 8 per cent (see Fig. 4) Germany’s theatre system falls into two categories: publicly funded theatres Germany’s music theatre landscape, along with its orchestral landscape, has been and private theatres, with the former further sub-divided into state theatres, mu- proposed for inclusion in the UNESCO List of the Intangible Cultural Heritage of nicipal theatres and regional theatres (Landestheater) (see Fig. 1). State theatres are Humanity.2 Its importance becomes clear when viewed in an international con- those prestigious houses which are, with rare exceptions, wholly owned by one of text. According to figures from the Operabase platform, roughly 7,000 opera and Germany’s federal states (Länder) and are at least 50 per cent financed from the operetta performances took place in Germany during the 2017-18 season – more state’s budget. Most state theatres were originally court or ‘residence’ theatres than in any other country on earth. (i.e. housed in the seat of residence of a ruling family). They are usually keepers of a proud theatrical tradition and can boast of houses with above-average seating ca- The number of music theatre performances in the German-speaking countries is pacity and stage size. With the end of the German Empire and its many principali- also high when considered in relation to population, though here Germany is even ties in 1918, most of the former court theatres became state theatres, with the state surpassed by Austria and Switzerland. There were also a good many performances govern ments taking charge of the institutions as legal successors to the former in Central and Eastern Europe as well as Scandinavia. Russia, in comparison, which monarchies. State theatres can be found in most of Germany’s federal states, the holds second place worldwide in number of performances (though lagging far be- exceptions being North Rhine-Westphalia, Saxony-Anhalt and Schleswig- Holstein. hind Germany), ranks 24th when considered on a per capita basis.3 Owing to historical circumstances (former residences) or cultural-political decisions, 246 247 Music Theatre | Fig. 1 | Publicly funded music theatres Sources: German Music Information Centre and many state theatres are not located in German Theatre and Orchestra Association, 2018 today’s state capitals. In addition to Düs- Flensburg Schleswig-Holsteinisches seldorf, Magdeburg and Kiel, no state Landestheater theatres are found in Potsdam and Erfurt. Stralsund A Aalto-Theater Essen Theater Vorpommern B Theater Krefeld und Mönchengladbach Rendsburg MUSIC THEATRES C Deutsche Oper am Rhein, Düsseldorf Theater Kiel Greifswald D Theater & Philharmonie Thüringen, Altenburg State theatre There are currently 25 state theatres ac- E Mittelsächsisches Theater Theater Lübeck Volkstheater Rostock Regional theatre tively producing music theatre in Berlin Neubrandenburg Municipal (or municipal Stadttheater Theater und Orchester union) theatre Bremerhaven Neubrandenburg/Neustrelitz (Deutsche Oper, Komische Oper, State Hamburgische Mecklenburgisches Staatstheater, Schwerin Staatsoper Neustrelitz Music theatre with two or Opera Unter den Linden and Friedrich- more sites Theater Bremen Theater Lüneburg stadt-Palast), Brunswick, Bremen, Cott- Oldenburgisches SEATING CAPACITY OF Staatstheater Komische Oper Berlin PRINCIPAL VENUES bus, Darmstadt, Dresden, Hamburg, Staatsoper Staatsoper Unter den Linden, Berlin Hannover Städtische Bühnen Staatstheater 2,023 Hanover, Karlsruhe, Kassel, Mainz, Mei- Osnabrück Braunschweig Brandenburger 8 Theater Friedrichstadt-Palast, Berlin 1,000 500 ningen, Munich (Bavarian State Opera Theater Bielefeld Deutsche Theater Münster Theater Oper Berlin 102 Halber- Magdeburg stadt and Gärtnerplatz Theatre), Nuremberg, TfN · Theater für Niedersachsen, Nordharzer Anhaltisches Theater Musiktheater im Revier, Städtebund- Dessau, Dessau-Roßlau Hildesheim 9 Staatstheater Note: The map indicates the primary per- Oldenburg, Saarbrücken, Schwerin, Stutt- Gelsenkirchen Landestheater theater Cottbus Theater formance location for the theatre concerned; Duisburg Detmold Nordhausen Quedlinburg Oper other auditoriums or venues are excluded. gart, Weimar and Wiesbaden. More- Krefeld A Theater Dortmund Leipzig – Oper Halle Opernhaus Sorbisches For theatres currently closed for renovation, Landesbühnen National-Ensemble, B 3 the seating capacity refers to the relevant Theater Hagen Sachsen, Bautzen over, on 1 September 2018 the Augsburg Deutsches Radebeul Gerhard-Haupt- interim venue. Mönchen- Nationaltheater, Weimar Oper Leipzig – mann-Theater, C Görlitz gladbach Wuppertaler Bühnen Musikalische Döbeln 1 Interim venue: Theaterzelt. Staatstheater Kassel Komödie Sächsische Staatsoper – 2 The atre was elevated to the status of 5 Interim venue: Martini-Park. Bühnen der Stadt Köln 7 D Semperoper Dresden 3 Landestheater Eisenach E Auditorium for concert performances, music theatre Stadttheater Freiberg Staatsoperette lacking a permanent venue. a state theatre. Plans for another state Theater Bonn Gießen Theater Erfurt Gera Städtische Dresden 4 Interim venue: Malsaal. 4 Theater Chemnitz Theater Aachen Zwickau 5 Interim venue: Staatenhaus. Eduard-von-Winterstein-Theater, 6 theatre with an opera division (‘Staats- Meininger Theater Interim venue: Großes Haus. Music theatre in co- 6 Annaberg-Buchholz Staatstheater Rudolstadt operation with Nordhausen Theatre, Lyric Opera Theater Plauen-Zwickau Studio Weimar and Mainz School of Music. Theater Koblenz Plauen theater Nordost’) were long discussed in 7 Music theatre in cooperation with Meiningen State Städtische Bühnen Theatre. Hessisches Staatstheater Wiesbaden Frankfurt am Main 10 Theater Hof 8 Alternating co-production of music theatre with Mecklenburg-West Pomerania with the Landestheater Coburg members of the Brandenburg Union of Municipal Staatstheater Theatres. Staatstheater Mainz Darmstadt 9 intend ed fusion or cooperation of the Mainfranken Theater Classified as a regional theatre (Landestheater) Theater Trier Würzburg owing to its regular guest performances at other Nationaltheater locations in Saxony-Anhalt. Theatre of West Pomerania (with sites Mannheim 10 Classified as a regional theatre (Landestheater) Staatstheater Nürnberg owing to its regular guest performances at other in Stralsund, Greifswald and Putbus) Theater Heidelberg locations in Bavaria. 11 Pfalztheater Classified as a municipal union theatre as there are Kaiserslautern generally no guest performances. and the Theatre in New Brandenburg/ Saarländisches Badisches Staatstheater Karlsruhe Staatstheater, Saarbrücken Theater Regensburg Straubing Neustrelitz. In the meantime these plans Staatstheater Stuttgart Theater Landestheater Passau have been shelved. Pforzheim Niederbayern11 Landshut1 Theater Ulm in cooperation with Municipal theatre is the most typical kind Staatstheater 2 Staatstheater am Augsburg Gärtnerplatz, München Theater Freiburg of theatre in Germany. Municipal the atres Bayerische Staatsoper – are run by the town or city con cerned. Nationaltheater, München Cartography: S. Dutzmann Leipzig, 2018 Currently Germany has 50 municipal National boundary 025 5075 100 km © German Music Council/ theatres or theatres jointly administered State boundary German Music Information Centre by two or more municipalities (Städte- bundtheater), each with its own opera 248 249 Music Theatre | Top left: Aalto Theatre in Essen. Bottom left: Deutsche Oper am Rhein, Düsseldorf’s opera house. Top right: Dresden State Operetta. Bottom
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    Leporello Contemporary Opera Newsletter Nr. 13 October 2012 World Première Performances In October 2012, twelve new operas will be performed for the first time, in France, the USA, Germany, Slovakia, Scotland and Switzerland, including two children operas and two multimedia works. Two historic figures (Victoria Woodhull and holy roman empress Maria Theresa) will come back to life. A great variety of styles, stories and characters will prove, if necessary that opera is alive and well ! Michèle Reverdy : Le Roi du bois Victoria Bond : Mrs. President Musical theatre Opera in 2 acts Libretto : Pierre Michon, in French Libretto : Hilary Bell Malakoff, Théâtre 71 Anchorage, Discovery Theater October 2, 2012 October 5, 2012 Duration : 70 minutes Duration : full evening with actor Jacques Bonnaffé, the Varèse String Quartett and a child soprano. with Valerie Bernhardt, Scott Ramsay, Katrina Thurman, Kirk Dougherty, Robert Osborne. The story of Gian Domenico Desiderii, servant to the Conducted by Victoria Bond and directed by Lemuel painter Claude Le Lorrain from 1634 to 1659. While Wade. living so close to the genius of his master, Desiderii tried to imitate him, but failed unequivocally. Victoria Woodhull (1838-1927) opened a brokerage firm on Wall Street in 1870, and was the first woman to start a weekly newspaper. In 1872, she was the first woman to run for the American presidency as an activist for women’s rights and labor reforms. more on p. 2 DVD Bo Holten : The Visit of the Royal Physician , DaCapo, 2.110408 With Johan Reuter, Gert Henning-Jensen, Elisabeth Jansson, Sten Byriel. First performed in Copenhagen on March 28, 2009.
  • Effects of the Met: Live in HD on the Democratization of Opera in America

    Effects of the Met: Live in HD on the Democratization of Opera in America

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2020 Effects of The Met: Live in HD on the Democratization of Opera in America Anna Wigtil Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA by Anna K. Wigtil A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Pamela Starr Lincoln, Nebraska December, 2020 EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA Anna K. Wigtil, M.M. University of Nebraska, 2020 Advisor: Pamela Starr The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States.