4260034868892.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

4260034868892.Pdf (1864–1949) [01] Till Eulenspiegels lustige Streiche, Live-Aufnahme der Konzerte op. 28 15:04 an der »Alten Oper Frankfurt«: 15. und 16. Januar 2012 Symphonia Domestica, op. 53 (Symphonia domestica*) [02] I. Bewegt 05:40 26. und 27. Mai 2013 [03] II. Scherzo 06:25 (Till Eulenspiegels lustige Streiche**) [04] III. Wiegenlied 05:37 [05] IV. Adagio 12:14 Oper Frankfurt Mobile and [06] V. Finale 15:04 Studio Recording System Recording Producer: Frankfurter Margit Baruschka (*+**), Opern- und Museumsorchester Felix Dreher (*), Teresa Kunz (**) Sebastian Weigle total 60:13 »… nach alter Schelmenweise« Eigentlich hatte Strauss beabsichtigt, nach Richard Strauss brachte in den Jahren zwi- seiner ersten, noch stark von Richard Wag- schen 1901 und 198 nicht weniger als neun ner beeinflussten Oper Guntram ein weiteres seiner Opern mit der Sächsischen Staats- eigenes Libretto auszuarbeiten, das als kapelle zur Uraufführung und begründete Grundlage eines neuen Bühnenwerkes mit damit eine bis heute wirksame Tradition. Die dem Titel Till Eulenspiegel bei den Schild­ engen und kontinuierlich gepflegten Bezie- bürgern dienen sollte. Der Entwurf war hungen zwischen dem dirigierenden Kom- schon weit vorangeschritten, wohl teilweise ponisten und anderen, in ihrer Bedeutung auch kompositorisch ausgeführt, als nicht vergleichbaren Klangkörpern sind hingegen nur die komplexer werdende Gesamtanlage vielfach in Vergessenheit geraten. Dies be- dieses Werkes, sondern auch der Misserfolg trifft mit Blick auf die zwischen 1885 und des Guntram (sowohl in Weimar als auch 1915 entstandenen Sinfonischen Dichtungen in München) den Abbruch des Projekts ver- nicht nur die Weimarer Hofkapelle und das anlassten; Strauss wandte sich der Oper erst Kölner Gürzenich-Orchester, sondern auch wieder nach der Jahrhundertwende zu. das Frankfurter Opern- und Museumsorches- Gleichwohl gab er das einmal gewählte ter, das Strauss bei der Uraufführung von Sujet, das auf der im frühen 16. Jahrhundert Also sprach Zarathustra op. 30 (27. Novem- aufgezeichneten Geschichte des 150 in ber 1896) und von Ein Heldenleben op. 40 Mölln verstorbenen Narren basiert, nicht (. März 1899) leitete, und das (unter sei- vollständig auf, sondern adaptierte diese für nem Chefdirigenten Siegmund von Hauseg- eine Sinfonische Dichtung – eine Gattung, ger) die europäische Erstaufführung der die ihm nicht zuletzt durch den Don Juan Symphonia domestica op. 53 am 14. Oktober op. 20 weithin Erfolg und Anerkennung ein- 1904 übernahm. Schon zuvor war, nur gebracht hatte und mit der er als Münchner wenige Wochen nach der Uraufführung, am Hofkapellmeister (seit Oktober 1894) weiter- 21. Februar 1896 der Till Eulenspiegel op. 28 hin reüssieren konnte; zugleich dirigierte erklungen. er in der Nachfolge seines Förderers Hans 4 “… based on an old rogue’s theme” Richard Strauss performed the world pre­ mieres of no fewer than nine of his operas actually intended to work out another libret­ with the Sächsische Staatskapelle (Saxon to – his own – to serve as the basis for a new State Orchestra) during the years between stage work entitled Till Eulenspiegel with the 1901 and 1938, founding a tradition still Simpletons. The sketch was already far ad­ having an effect nowadays. But the close vanced, probably compositionally realised in and continuously cultivated relationships parts, when the work was abandoned – not between the conducting composer and only due to the ever more complex overall other ensembles, comparable in importance, design of this work, but also by the failure of have frequently been forgotten. This ap­ Guntram (both in Weimar and in Munich); plies, with a view onto the symphonic only after the turn of the century did Strauss poems written between 1885 and 1915, not return to the operatic genre. Nevertheless, only to the Weimar Hofkapelle and the he did not fully give up his chosen subject, Cologne Gürzenich Orchestra, but also the based on the story written in the early 16th Frankfurt Opera and Museum Orchestra, century of the jester who died in 1350 in directed by Strauss at the world premieres Mölln, but adapted it for a symphonic poem of Thus Spake Zarathustra, Op. 30 (27 No­ – a genre that had brought him wide success vember 1896) and of A Hero’s Life, Op. 40 and recognition with Don Juan, Op. 20 and (3 March 1899), and which, under its princi­ with which he, as Munich’s court kapell­ pal conductor Siegmund von Hausegger, meister (since October 1894) could succeed took on the European premiere of the Sym- again. At the same time, he served as inter­ phonia domestica, Op. 53 on 14 October im conductor of the Berlin Philharmonic for 1904). Already prior to that, just a few weeks two years as successor to his mentor Hans after the world premiere, Till Eulenspiegel, von Bülow. Op. 28 was performed on 21 February 1896. All the experiences gathered over the After his first opera, Guntram, strongly years as regards the timbral possibilities influenced by Richard Wagner, Strauss had of the individual instruments and of the or­ 5 von Bülow für knapp zwei Jahre interimis- ben das böse Ende naht. Für den Verlauf tisch die Berliner Philharmoniker. entscheidender ist freilich die vorbereitende, All die in den Jahren gesammelte Erfah- knapp formulierte langsame Einleitung, rung hinsichtlich der klanglichen Möglich- die am Schluss des turbulenten Scherzos keiten der einzelnen Instrumente wie auch noch einmal versöhnlich anhebt: »Es war des Orchesters insgesamt spiegelt sich in der einmal …« am 6. Mai 1895 vollendeten Partitur von Till Eulenspiegels lustige Streiche wider, deren Ein wenig narzisstische Selbstüberhöhung Untertitel auch einen Hinweis auf die äußere war auch im Spiel, als sich Strauss einige Jah- Anlage gibt: »nach alter Schelmenweise – re nach dem ohnehin autobiographisch ge- in Rondeauform«. Tatsächlich bilden das prägten Heldenleben (1898) im Frühjahr 1902 markante Horn-Thema wie auch der hier mit an die Konzeption einer Sinfonischen Dich- lustig charakterisierte Einwurf der kleinen, tung machte, die nichts Geringeres und Per- scharf klingenden D-Klarinette jene Motive, sönlicheres als den Tageslauf der noch recht die (so Strauss in einem Brief an Franz Wüll- jungen Familie abbilden sollte: darin zum ner, der die Uraufführung dirigierte) »das einen den Komponisten selbst, zum anderen Ganze in den verschiedensten Verkleidungen die seit 1894 mit ihm verheiratete Sopranis- u. Stimmungen, wie Situationen durchziehen tin Pauline de Ahna (186–1950), zum drit- bis zur Katastrophe, wo er aufgeknüpft ten den eigenen Sohn Franz (1897–1980). wird.« Erst später bezeichnete er die als Epi- Am Anfang stand ein programmatisches soden zwischengeschalteten Szenen konkret: Grundkonzept, das dann auch in weiten Zü- Till auf dem Pferd durch die Marktweiber rei- gen musikalisch umgesetzt wurde. So notier- tend, dann von Salbung und Moral triefend te Strauss während eines Badeurlaubs an der als Pastor verkleidet, als Kavalier (vergeblich) englischen Südküste in einem seiner Skizzen- schöne Mädchen umwerbend, und wie er als bücher: »25. Mai 1902, Insel Wight: Idee ­ Examenskandidat den Philistern eine Nase zu einem Familienscherzo mit Doppelfuge zu dreht – bis nach dem immer dreisteren Trei- Themen: ›Mein Heim‹ (ein sinfonisches 6 chestra as a whole are reflected in the score A slightly narcissistic self­elevation was of Till Eulenspiegel’s Merry Pranks, completed also in play when Strauss began to concep­ on 6 May 1895. Its subtitle refers to the ex­ tualise, several years after the already auto­ ternal design: “based on an old rogue’s biographically influenced A Hero’s Life theme – in rondo form”. Indeed, the distinc­ (1898) in the spring of 1902, a symphonic tive horn theme and the interjection of the poem that was to depict nothing less (and small, sharply sounding clarinet in D, charac­ more personal) than the daily routine of the terised here as lustig (merry), form the mo­ still quite young family: including, firstly, tifs which (according to Strauss in a letter to the composer himself; secondly, the sopra­ Franz Wüllner, who conducted the premiere) no Pauline de Ahna (1863–1950) married to “run through the entirety in the most varied him since 1894 and thirdly, his own son guises, moods and situations up to the catas­ Franz (1897–1980). At the beginning stood a trophe, where he is hanged. It was only later basic programmatic concept that was then that he specifically designated the scenes musically realised on a large scale. Thus interconnected as episodes: Till riding on Strauss notated the following in one of his horseback scattering the market women, sketchbooks during a holiday on the south then disguised as a pastor dripping wet from coast of England: “25 May 1902, Isle of unctuousness and morals, as a cavalier Wight: idea for a family scherzo with a dou­ wooing beautiful girls (in vain), and thumb­ ble fugue on 3 themes: ‘My home’ (a sym­ ing his nose at the philistines as an examina­ phonic self and family portrait). / My wife, tion candidate – until the unhappy ending my child and my music / Nature and sun­ approaches after ever more audacious acts. shine, they are my happiness. / A bit of More decisive for the course of events is, of equanimity and much humour / The devil course, the preparatory, succinctly formulat­ himself doesn’t surpass me in that! / ed, slow introduction that resounds once F major, 1st theme: Papa returns from a trip, again in a conciliatory tone at the end of the tired. / B major, 2nd theme: Mama / D ma­ turbulent scherzo: “Once upon a time ...” jor, 3rd theme: little son, a mixture but 7 Selbst- und Familienporträt). / Mein Weib, peinlich empfundene Schlüsselloch-Ästhetik mein Kind und meine Musik / Natur und empört hatte – zumal Pauline, abgesehen Sonne, die sind mein Glück. / Ein wenig von ihren fraglosen Qualitäten als Sopranis- Gleichmut und viel Humor / Drin thut mir’s tin, wegen ihres bekannt burschikosen Auf- der Teufel selbst nicht vor! / F dur 1. Thema tretens keinesfalls überall wohlgelitten war Papa kommt von der Reise zurück, müde. / (beispielsweise hegte Alma Mahler ihr ge- H dur 2.
Recommended publications
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Fascinace Wagnerem TZ Aj.Indd
    PRESS RELEASE opera Mgr. SILVIA HRONCOVÁ Director of Opera Faszination Wagner, a remarkable project combining opera and film, will receive its world premiere in Prague. Andreas Schager, one of the most acclaimed contemporary Heldentenors, will perform at the Forum Karlín. Prague, 4 October 2018 On 25 October, the National Theatre in Prague will host the world premiere of the unique Faszination Wagner project. Following the first night, at the Forum Karlín, it will be presented in other cities in Europe. The project, encompassing an opera performance and screening of a film, specially created for this occasion, may even be referred to as revolutionary. The evening features selected highlights from Richard Wagner’s operas, which will be performed by the State Opera Orchestra, conducted by Matthias Fletzberger, and the stellar singer Andreas Schager, one of the most acclaimed contemporary Heldentenors. The State Opera Orchestra, which is participating in a project of this kind for the very first time, will be led by the Austrian pianist and conductor Matthias Fletzberger, who said: “Wagner’s visions transcended the limits of music. His aim was to create a universal, comprehensive artwork, which would employ all the senses at the same time. Transformation of the content of live music to the form of film within the concert affords Wagner’s work a new dimension.” Along with Andreas Schager, his wife, the world-renowned violinist Lidia Baich, will appear as a soloist. The entire concept of the project, including the film, was created by the German stage and film director, screenwriter and musicologist of Turkish descent Selcuk Cara, who started his artistic career as an opera singer.
    [Show full text]
  • Artists Management Hartmut Haase Aalgrund 8 D-31275 Lehrte Telefon: 05175-953232 Telefax: 05175-953233 E-Mail: [email protected]
    Artists Management Hartmut Haase Aalgrund 8 D-31275 Lehrte Telefon: 05175-953232 Telefax: 05175-953233 e-mail: [email protected] www.artists-haase.de Christiane Libor ( Soprano) Christiane Libor was born in Berlin, where she received her first lessons in piano and singing. Until 1996 she studied at the ‘Musikhochschule für Musik Hans Eissler’ Berlin with Professor Anneliese Fried. From April 1997 on she started an additional concert course of study which she finished in February 1999 with honours. In 1997 she attended classes in Lieder interpretation with Dietrich Fischer-Dieskau and Julia Varady. She also attended master classes with Edith Mathis, Hans Hotter, Peter Schreier and Joseph Protschka. 1998 Christiane Libor received the O.E. Hasse-Prize of the Academy of the arts Berlin and was prize winner of the VII. International Mozart-Competition Salzburg 1999. 1999 she sang the part of ‘Erste Dame’ (Die Zauberflöte) at the Nationale Reisopera Enschede. In 2003 she was engaged for the role of ‘Agathe’ (Der Freischütz) at the Reisopera in Enschede. In December 1999 she sung the first time at Hamburgische Staatsoper in ‘Die Zauberflöte’ (Erste Dame) and sung the soprano-part in John Neumeier’s Choreography of Händel’s ‘The Messiah’. In the 2003/04 season she appeared at Hamburgische Staatsoper as ‘Feldmarschallin’ (Rosenkavalier), at Staatsoper Hannover and at Semperoper Dresden as ‘Rosalinde’ (Fledermaus). In 2005 she sung ‘Leonore’ (Fidelio) at Staasoper Berlin and Hamburgische Staatsoper and ‘Dialogues des Carmélites’ (Hamburgische Staatsoper). In the 2005/06 season she sung first time ‘Senta’ (Der fliegende Holländer), ‚Eva’ (Die Meistersinger von Nürnberg) and ‘Donna Anna’ (Don Giovanni).
    [Show full text]
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Premiere TRISTAN UND ISOLDE Story in Three Acts by Richard Wagner Libretto by the Composer Based on the Narrative Poem Tristan (C
    Premiere TRISTAN UND ISOLDE Story in three acts by Richard Wagner Libretto by the composer based on the narrative poem Tristan (c. 1210) by Gottfried von Straßburg Sung in German with German and English surtitles Conductor: Sebastian Weigle Director: Katharina Thoma Set Designer: Johannes Leiacker Costume Designer: Irina Bartels Lighting Designer: Olaf Winter Chorus Master: Tilman Michael Dramaturge: Mareike Wink Tristan: Vincent Wolfsteiner Isolde: Rachel Nicholls King Marke: Andreas Bauer Kanabas / Falk Struckmann (June, July 2020) Brangäne: Claudia Mahnke / Tanja Ariane Baumgartner (June, July 2020) Kurwenal: Christoph Pohl / Simon Bailey (June, July 2020) Melot: Iain MacNeil A Shepherd: Tianji Lin Helmsman: Liviu Holender A Young Sailor’s Voice: Michael Porter / Michael Petruccelli (February 14th, 23rd 2020) Oper Frankfurt’s Male Chorus; Frankfurter Opern- und Museumsorchester Tristan und Isolde is regarded as one of the best operas written by Richard Wagner (1813-1883) and an enormous milestone in music. The way his „Tristan chord“ resolves towards the end of the work during Isolde’s „Liebestod“ was unthinkable in those days. The composer was well aware how difficult it would be to stage this three act work: „Only mediocre productions might save me“, he wrote to Mathilde Wesendonck. The World Premiere on June 10th 1865 in the National Theatre in Munich, at the command of King Ludwig II, was a great success. The last production of Tristan in Frankfurt opened in 2003, directed by Christof Nel. The story: Although Tristan killed Isolde’s betrothed in battle, the Irish princess nursed the wounded knight back to health, incapable of carrying out her revenge.
    [Show full text]
  • Spring 2015 CUES Internet at the Speed of Whoa
    OPERAVolume 55 Number 05 | Spring 2015 CUES Internet at the speed of whoa. XFINITY® Internet delivers the fastest and most reliable in-home WiFi for all rooms, all devices, all the time. To learn more call 866-620-9714 or visit comcast.com Restrictions apply. Not available in all areas. Features and programming vary depending on area and level of service. WiFi claims based on April and October 2013 study by Allion Test Labs, Inc. Actual speeds vary and are not guaranteed. Reliably fast speed based on February 2013 FCC Broadband Report. Call for restrictions and complete details. ©2014 Comcast. All rights reserved. All trademarks are property of their respective owners. DIE WALKÜRE APRIL 18, 22, 25, 30 MAY 3 SWEENEY TODD APRIL 24, 26, 29 MAY 2, 8, 9 PATRICK SUMMERS PERRYN LEECH ARTISTIC & MUSIC DIRECTOR MANAGING DIRECTOR Margaret Alkek Williams Chair ADVERTISE IN OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Kim Anderson Paul Hopper Perryn Leech Elizabeth Lyons Patrick Summers For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. Find HGO online: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera instagram.com/hougrandopera Readers of Houston Grand Opera’s Opera Cues magazine are the Mobile: HGO.org most desirable prospects for an advertiser’s message.
    [Show full text]
  • Audiovisual Recording As Registers of Opera Productions1
    Comunicação e Sociedade, vol. 31, 2017, pp. 39 – 56 doi: http://dx.doi.org/10.17231/comsoc.31(2017).2603 The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions1 Mateus Yuri Passos Abstract This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In direc- tor’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are in- terested above all in problematizing the equivalence that is sometimes established between a stag- ing and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883). Keywords Opera recording; director’s theater; opera staging; Regietheater; Richard Wagner Resumo Este trabalho se debruça sobre o uso de gravações audiovisuais como documentos para análise de producções de ópera contemporâneas agrupadas pela crítica alemã sob o termo tea- tro de director [Regietheater].
    [Show full text]
  • 2021/22 Season
    2021/22 Season New Productions George Frideric Handel Amadigi Saturday September 25 2021 (Bockenheimer Depot) Conductor: Roland Böer Director: Andrea Bernard Set Designer: Alberto Beltrame Costume Designer: Elena Beccaro Lighting Designer: Jan Hartmann Dramaturge: Zsolt Horpácsy Domenico Cimarosa L'italiana in Londra Sunday September 26 2021 Conductor: Leo Hussain Director: R.B. Schlather Set Designer: Paul Steinberg Costume Designer: Doey Lüthi Lighting Designer: Joachim Klein Dramaturge: Mareike Wink Carl Nielsen Maskerade (Masquerade) Sunday October 31 2021 Conductor: Titus Engel Director: Tobias Kratzer Set & Costume Designer: Rainer Sellmaier Lighting Designer: Joachim Klein Choreographer: Kinsun Chan Chorus Master: Tilman Michael Dramaturge: Konrad Kuhn With generous support from the Danish Ministry for Culture and Royal Danish Embassy Nikolai A. Rimsky-Korsakov Die Nacht vor Weihnachten (The Night Before Christmas) Sunday December 5 2021 Conductor: Sebastian Weigle Director: Christof Loy Set Designer: Johannes Leiacker Costume Designer: Ursula Renzenbrink Lighting Designer: Olaf Winter Choreographer: Klevis Elmazaj Flying Choreographer: Ran Arthur Braun Chorus Master: Tilman Michael Dramaturge: Maximilian Enderle 1 Hauke Berheide The People Out There (World Premiere) Wednesday December 22 2021 (Bockenheimer Depot) Conductor: Roland Böer Director: Amy Stebbins Set Designer: Christian Wiehle Costume Designer: Belén Montoliu Video: Lukas Rehm Lighting Designer: Joachim Klein Dramaturge: Mareike Wink The Ensemble Modern Commissioned
    [Show full text]
  • Auferstehn, Ja Auferstehn«
    9.9.2021 »AUFERSTEHN, JA AUFERSTEHN« 1 Kammerorchester Basel & Sylvain Cambreling Kammerorchester BF 2019_Programmheft_Inhalt_S1.indd 1 12.08.21 14:12 Ludwig van Beethoven Ouvertüre Nr. 3 zur Oper Fidelio op. 72b (»Leonoren Ouvertüre«) Entstehungszeit: 1805, Umarbeitung 1806 Uraufführung: 20. November 1805 Uraufführungsdirigent: Kisuaheli Neumix Erstaufführung beim Beethovenfest: 6. September 19?? 2 Das Beethovenfest Bonn 2021 steht unter der Schirmherrschaft des Ministerpräsidenten des Landes Nordrhein-Westfalen, Armin Laschet. Donnerstag, 9.9.2021, 20 Uhr World Conference Center Bonn Carolin Widmann Violine Lorelei Dowland Kontraforte Kammerorchester Basel Sylvain Cambreling Dirigent Gefördert durch Deutsche Welle Festivalkonzert 3 Grußwort Das Beethoven-Jubiläumsjahr stand im Zeichen der Corona-Pandemie. Konzerte zur Feier des Bonner Genies mussten abgesagt werden. Mit einer multime- dialen Hommage hat die Deutsche Welle den 250. Ge-- burtstag Ludwig van Beethovens gefeiert: Mit Filmen wie A World Without Beethoven mit der Hornistin Sarah Willis und Musikdokumentationen wie Inspired By Nature. 249 Millionen regelmäßige Nutzerinnen und Nutzer hatte die DW im Jubiläumsjahr – nie zuvor haben mehr Menschen auf die journalistischen Angebote des deutschen Auslandssenders zugegriffen. Beethoven und seine Musik stehen für den Austausch der Kulturen ebenso wie für den universellen Freiheitswillen der Menschen. Bei- des vermittelt auch die DW. Als unabhängiges, internationales Medienunternehmen aus Deutschland informiert sie Menschen weltweit, damit sie sich frei entscheiden können. Dem Beethovenfest, zu dem jedes Jahr erstklassige Musikerinnen und Musiker und weltberühmte Orchester nach Bonn kommen, ist die DW eng verbunden. Seit über 20 Jahren begleiten wir das Fes- tival als Medienpartner und Mitgesellschafter und lassen so Musik- fans auf allen Kontinenten an ihm teilhaben. Musik ist unsere 33.
    [Show full text]
  • Summer 2010 Den Reif Geb’ Ich Nicht! Volume 7, Number 3 –Das Rheingold
    Wagneriana Lasst mich in Ruh’! Summer 2010 Den Reif geb’ ich nicht! Volume 7, Number 3 –Das Rheingold From the Editor e are busy planning the upcoming season and have a number of interesting events in the works. The first is a talk and book signing by Professor Nicholas Vazsonyi, author of Richard Wagner: Self-Promotion and W the Making of a Brand, published by Cambridge University Press. The book was very well received when it was released last March. A reviewer from the Wall Street Journal wrote: “Written with panache and élan, conveying with refreshing brevity a palpable sense of Wagner's indefatigable industry . the first scholarly text to take seri- ously Wagner’s incessant self-promotional activity, Mr Vazsonyi’s book assumes considerable importance not only in musicology but also in the history of marketing.” According to Opera magazine, “It is . a cracking good read as we learn about Wagner’s abilities to turn himself into a ‘brand’ or to act as his own ‘PR agent.’ An important book, too, as Vazsonyi foregrounds an aspect of Wagner we hear too little about, re-aligning a great 19th-century figure through the filter of an avowedly 21st-century sensibility.” This book was also reviewed by Professor Hans Rudolf Vaget in the spring issue of Wagneriana. For details on the October 16 talk and book signing, see the back page. Our second event is a talk and audiovisual presentation by Hilan Warshaw, a talented young filmmaker and musician. This event was originally planned for September, but the date has now been changed to November 13.
    [Show full text]
  • Christiane Libor Biography 2015-16
    CHRISTIANE LIBOR, Soprano Christiane Libor was born in Berlin and studied at the ‘Musikhochschule für Musik Hans Eissler.’ She complemented her conservatory education in training with Dietrich Fisher-Dieskau, Julia Varady, Edith Mathis, Hans Hotter, Peter Schreier, and Joseph Protschka. Ms. Libor has made great music together with many of the world’s most respected conductors including Philippe Auguin, Philippe Jordan, Kurt Masur, Ingo Metzmacher, Marc Minkowski, Helmuth Rilling, Sebastian Weigle, Simone Young, and Jaap van Zweden. Performances of the 2015-16 season include Sieglinde in Die Walküre and the soprano’s first performances of Brünnhilde in Götterdämmerung, both with Oper Leipzig, under the baton of Ulf Schirmer. Ms. Libor sang a wide range of leading dramatic soprano parts in the past season including the title role of Ariadne auf Naxos at Seattle Opera and Opera Stuttgart, Brünnhilde in Die Walküre with Oper Leipzig, Fidelio in Dresden, and Senta in Der fliegende Holländer at the Washington National Opera. 2013-2014 season performances included Die Walküre in Warsaw, Baden- Baden, and Leipzig and Brünnhilde in Siegfried in Stuttgart. She bowed as Isabella in Wagner’s Das Liebesverbot in Bayreuth and Leipzig. Symphonic appearances brought her to the Berlin Radio Symphony Orchestra for Shostakovitch’s Fourteenth Symphony with Marek Janowski, to Augsburg for Strauss’ Vier Letzte Lieder conducted by Gilbert Kaplan, and to Berlin for Penderecki’s Lukas Passion. Ms. Libor gave her American operatic debut at Seattle Opera in 2012-13 in the title role of Beethoven’s Fidelio and other opera engagements that season included a return to Opernhaus Leipzig for performances as Ada in Wagner’s rarity Die Feen, Eva in Die Meistersinger von Nürnberg, and Senta in Der fliegende Holländer.
    [Show full text]