Ärzteblatt Sachsen 08/2014
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Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
Der . Fliegende Hollander
_ Der . Fliegende Hollander. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 Courtle[glz GOLD BAND FILTER TIPPED ·HAND BLENDED ·LIGHT AND MILD Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 &caPAB ~ '' I I CAPAB OPERA/KHUIK-OPERA Artistic Director/ Artistieke Direkteur PROF. MURRAY DICKIE Der Fliegende Hollander OPERA IN THREE ACTS/OPERA IN DRIE BEDRYWE (Sung in German/Geslng in Duits) Music/Musiek & Libretto RICHARD WAGNER Producer/Regisseur, Set Designs/Dekorontwerpe, Lighting/Beligting GUNTHER SCHNEIDER-SIEMSSEN Conductor/Dirigent CHRISTOPHER DOWDESWELL Costume Designs/ Kostuumontwerpe JENNY DE SWARDT Lighting Director/ Beligtingsdirekteur PIETER DE SWARDT Design Assistants/ DIETMAR SOLT Ontwerpassistente AMELIA MULLER Scenic Painter/T oneeiskilder CHRISTOPHER LORENTZ Assistant Producer/ Assistent-Regisseur CHRISTINE CROUSE Choreography Adviser/ Choreografie-Adviseur PAMELA CHRIMES CAPAB CHORUS/ KRUIK-KOOR Chorus Master/Koormeester RAYMOND HUGHES CAPAB ORCHESTRA/ KRUIK-ORKES Leader/ Konsertmeester THOMAS MOORE Der Fliegende Hollander Der Riegende Hollander was first performed in Dresden is di€ eerste maal op 2 Januarie 1843 on 2nd January, 1843 in Dresden opgevoer. hrst production in the Nico Malan Opera House. Eerste produksie in die Nico Malan-Operahuis. Aprill976 Aprill976 Season: 29th March until 12th April, 1986. Speelvak: 29 Maart tot 12 Aprtll986. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 THE VISUAL AND DRAMATIC CONCEPTION OF WAGNER'S DER FLIEGENDE HOLlANDER By Professor Giinther Schneider-Siemssen While Wagner's music for Tristan und Isolde belongs to the later period of his work and has an erotic and cosmic nature, Der Fliegende Hollander is an earlier work in which the influence of Verdi is sometimes felt. -
Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
78Rpm to Sell !
Beginning ! ! 78rpm to sell ! ! ! Albums : Lotte Lehmann : Schubert + Schumann + Brahms (3x) Columbia US Sir Charles Thomas Victor Grace Moore Lily Pons Mario Lanza Yves Thymaire Voices of the Golden age (volume 1 Victor) Gilbert & Sullivan Princess Ida HMV OA + HMS Pinafore Decca Vaughan Williams On wenlock wedge Pears Jeaette Mc Donald in songs Blanche Thebom Schumann Jennies Tourel Offenbach Dorothy Maynor Spirituals Hulda Lahanska Lieder recital Erna Sack Popular favorites Eileen Farrell Irish songs Paul Robeson Spirituals Josef Schmidt Lotte Lehmann Strauss Lotte Lehmann Song recital Maggie Teyte French art songs Gladys Swarthout pˆopular favorites Maggie Teyte Debussy with Cortot Lotte Lehmann Schumann with Bruno Walter Lotte Lehmann Brahms Index Ada ASLOP, 44 Alma GLUCK, 38, 51 Ada NORDENOVA, 96, 97 Amelita GALLI-CURCI, 27, 30, 32, 57, 63, 72 Adamo DIDUR, 99 Anne ROSELLE, 25 Adele KERN, 17, 18, 46, 74, 77 Anny SCHLEMM, 45 Alda NONI, 14, 17, 48, 60, 74 Anny von STOSCH, 91 Alessandro BONCI, 57 Antenore REALI, 40 Alessandro VALENTE, 58, 67 Antonio CORTIS, 58, 60 Alexander KIPNIS, 71, 72, 77 Antonio SCOTTI, 30 Alexander SVED, 47 Armand TOKATYAN, 65 Alexandra TRIANTI, 76 Arno SCHELLENBERG, 71 Alexandre KOUBITSKY, 49 Arthur ENDREZE, 61, 85, 86 Alexandre KRAIEFF, 23 Arthur PACYNA, 58 Alfons FUGEL, 40 Astra DESMOND, 41, 59 Alfred JERGER, 57 August SEIDER, 47 Alfred PICCAVER, 25, 26, 96 Augusta OLTRABELLA, 46, 87 Alina BOLECHOWSKA, 46 Aulikki RAUTAWAARA, 100 Barbara KEMP, 23 Cesare FORMICHI, 99 Bernardo de MURO, 32, 50 Cesare PALAGI, 78 Bernhard -
AUTOGRAPH AUCTION Sunday 27 November 2011 10:00
AUTOGRAPH AUCTION Sunday 27 November 2011 10:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (AUTOGRAPH AUCTION) Catalogue - Downloaded from UKAuctioneers.com Lot: 877 beneath the quotation. VG ELGAR EDWARD: (1857-1934) English Composer. A good Estimate: £80.00 - £100.00 printed score signed for The Dream of Gerontius (Op.38, 1900), First Edition published by Novello and Company Ltd., London, 1900. The tall 8vo edition has been specially bound in half blue Lot: 883 morocco with gilt title ('Nesta') to cover and gilt lettering to COATES ERIC: (1886-1957) English Composer, composed the spine. Signed by Elgar in dark fountain pen ink to the famous main title march of the film score to The Dam Busters preliminary blank with an A.M.Q.S. in his hand, two bars with (1954). Vintage signed and inscribed 4 x 6 photograph, a head words ('Praise etc.') beneath his signature. Dated Hereford, and shoulders study of Coates. Signed in dark fountain pen ink 1924, in his hand. Bearing two ownership signatures of N[esta]. to a light area of the image and dated February 1933 in his J. R. Clarke of Gloucester and Chester, one to the title page. hand. VG Rare in this form. Some light discoloration to the head of the Estimate: £100.00 - £120.00 covers and the spine faded, about VG Estimate: £400.00 - £600.00 Lot: 884 BRITTEN BENJAMIN: (1913-1976) English Composer. Vintage Lot: 878 signed postcard photograph of Britten in a head and shoulders SULLIVAN ARTHUR: (1842-1900) English Composer. -
Österreichische Musikzeitschrift
ÖSTERREICHISCHE MUSIKZEITSCHRIFT GEGRÜNDET VON DR. PETER LAFITE t REGISTER 1977 32. JAHRGANG Herausgeber, Eigentümer und Verleger: Prof. Elisabeth Lalite, 1010 Wien, Hegelgasse 13/22, Tel. 52 M 69, Redaktion (Prof Rudolf Klein. Walter Szmolyan. Prof. Dr. Erik Werba) und Vertrieb: 1010 Wien, Hegel- gasse 13/22. Tel 52 68 69. Ständiger Mitarbeiter: Dr. Rolf Pfluger, Schweiz (Schallplattenteil PHONO). Für den Inhalt verantwortlich: Walter Szmolyan, 2340 Mödling, Ferdinand-Buch berger-Gasse 11. AUTORENVERZEICHNIS AUFSATZE Antonicek, Theophil: Die musikalische Legende vom inneren Heldentum - Sane1 Alessio 293-297 A 1 Badura-Skoda,Eva: Zum Charakterbild Anton Schindlers 241-246 Β 1 - Zur Salzburger Erstaufführung von J. Haydns Singspiel „Die reisende Ceres" 317-324 Β 2 Baiatsch, Norbert: 50 Jahre Konzertvereinigung Wiener Staatsopernchor 320 ff. Β 3 Biba, Otto: Beethoven als ,.Klaviermeister" einer Wiener Bürgerfamilie 136ff. Β 4 - Ludwig Ritter von Kochel (1800-1877) - Zur Erinnerung an seinen vor 100 Jahren erfolgten Tod 310-317 Β 5 Billeter, Bernhard: Anweisung zum Stimmen von Tasteninstrumenten in verschiedenen Temperaturen 185-195 Β 6 Brosche, Günter: Richard Strauss und Ludwig Karpath 74-79 Β 7 - Zur Datierung der Beethoven-Konversationsnefte 119-124 Β 8 Brusatti, Otto: Das Beethoven-Bild Arnold Schönbergs 446-455 Β 9 Dahms, Sibylle: Adriano Banchieris „La Pazzia Senile" im Heilbrunner Steintheater 325f. D 1 Derr, Ellwood: Zur Zierpraxis im späten 18. Jahrhundert 8-16 D 2 Deutsch, Otto Erich: Schubert und Grillparzer 497-505 D 3 Deutsch, Walter: „Bonaparte de la Marche" - Musikalische Nachweise zu den Anfängen der Blasmusik in Vorarlberg 383-395 D 4 Eibl, Joseph Heinz: Mozart und das Theater in der Leopoldstadt 17 ff. -
Celebrate Beethoven Catalogue Ludwig Van Beethoven (1770–1827)
CELEBRATE BEETHOVEN CATALOGUE LUDWIG VAN BEETHOVEN (1770–1827) Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music. Beethoven’s monumental contribution to Western classical music is celebrated here in this definitive collection marking the 250th anniversary of the composer’s birth. ThisCELEBRATE BEETHOVEN catalogue contains an impressive collection of works by this master composer across the Naxos Music Group labels. Contents ORCHESTRAL .......................................................................................................................... 3 CONCERTOS ........................................................................................................................ 13 KEYBOARD ........................................................................................................................... -
WAGNER Die Walküre Acts I and II
110250-51 bk WalkureEC 24/06/2003 12:45 Page 12 Great Opera Recordings ADD 8.110250-51 Also available: 2 CDs WAGNER Die Walküre Acts I and II Lotte Lehmann Marta Fuchs Margarete Klose Lauritz Melchior Hans Hotter Vienna Philharmonic Orchestra Bruno Walter 8.110872-75 Berlin State Opera Orchestra Bruno Seidler-Winkler (Recorded in 1935 and 1938) 8.110250-51 12 110250-51 bk WalkureEC 24/06/2003 12:45 Page 2 Great Opera Recordings Producer’s Note The sources for the present transfers were U.S. Victor discs from the 1930s, the most quiet pressings on which these Richard recordings were available. The best portions of the best sides from four “Z”-type shellac pressings were used for Act I, while Act II came from three “Gold” label copies (its earliest form of issue in America). WAGNER The original recordings were quite well engineered for their time, but their reissue history has had mixed (1813-1883) results. A recent, much-acclaimed restoration of Act I was pitched a semitone sharp and did not join several of the sides correctly, while EMI’s transfer of Act II cut music from the original recording in order to squeeze it onto a single CD. For these transfers, I have taken care to pitch each side accurately (the Vienna sides were recorded at a Die Walküre notably lower speed than the Berlin sides), and Act II is presented complete as recorded, with the small cuts in Acts I and II Wotan’s narrative and the Todesverkündingung scene that were present on the original release. -
Joseph Calleja Christian Thielemann 150 Jahre
OPER IM FOKUS APRIL | 2019 am 28. April im Ronacher April im Ronacher am 28. Bodyguard Turandot-Plakat der Uraufführung Turandot-Plakat Ricordi 25.4.1926 © Edizioni Bodyguard Musical meets Opera zu Opera Musical meets Meer van Meeden © VBW/Deen Patricia JOSEPH CALLEJA Musical meets Opera 11 zu Opera Musical meets im Ronacher am 28.4. Meer van Meeden © VBW/Deen Patrica CHRISTIAN THIELEMANN IM GESPRÄCH 150 JAHRE WIENER STAATSOPER RACHEL FRENKEL IM PORTRAIT Die Wiener Oper mit klarem Blick genießen. AUGENLASER-INFOTAG Melden Sie sich jetzt kostenlos und unverbindlich an auf gemini-augenlaser.at Ihr Spezialist für Augenlaser-Korrekturen, nur wenige Schritte entfernt. Die Gemini Augenlaser Praxis von Dr. Pavel Stodulka bietet neben modernster Lasertechnik mit risikoarmen Behandlungsmethoden das umfassende Leistungsangebot einer privaten Augenarztpraxis. Persönliche Beratung und noch mehr Infos unter 01/945 32 67 oder [email protected] Gemini Augenlaser Wien, Opernring 1, Stiege R, 7. Stock, A-1010 Wien, Telefon 01/945 32 67, E-Mail: [email protected], gemini-augenlaser.at INHALT Inhalt VERANSTALTUNGEN Seite 6 Salon Opéra zu Die Frau ohne Schatten • Freitag 17. Mai Salon Opéra für Kinder zu Lohengrin • Samstag 18. Mai Seite 7 Künstlergespräch Joseph Calleja • Dienstag 14. Mai 7 Seite 9 Künstlergespräch Christian Thielemann • Donnerstag 23. Mai THEMA 150 Jahre Wiener Staatsoper (1/2) Seite 10 Zeitschichten – Zur Architektur der Wiener Staatsoper (SIGRID BRANDT) Seite 13 Johann Nepomuk Beck – Don Juan der Wiedereröffnung 9 Seite 14 Das neue Opernhaus im Pressespiegel (RAINHARD WIESINGER) Seite 16 ... aus der Geschichte des Hauses ... (RAINHARD WIESINGER) Seite 18 Bemühen um nationale Selbstfindung (OSWALD PANAGL) Seite 21 Diskographie (RICHARD SCHMITZ) PORTRAIT 10 Seite 24 Rachel Frenkel (RAINHARD WIESINGER) MEINUNG Seite 4 Heinz Zednik, Dominique Meyer 24 MISTERIOSO Seite 6 7 Joseph Calleja © Decca/Mathias Bothor 9 Christian Thielemann © Matthias Creutziger SERVICETEIL 10 Das k.k. -
Arabella De Richard Strauss En El Gran Teatro Del Liceo
LEONOR ORTEGA ALCÁNTARA ARABELLA DE RICHARD STRAUSS EN EL GRAN TEATRO DEL LICEO Leonor Ortega Alcántara Licenciada en Filología Hispánica Profesora en el IES “Arroyo de la Miel”, Málaga Introducción El año 2014 celebró, entre otros, el aniversario del nacimiento de uno de los compositores más interesantes y controvertidos de la música sinfónica y operística: un 11 de junio de 1864 nació en la bávara localidad (y, entonces, capital imperial) de Múnich en el seno de una familia noble el autor, director y compositor alemán Ri- chard Strauss; su vida contempla los imperios austríaco y prusiano, su desmembramiento tras la Primera Guerra Mundial, el auge y asentamiento del nazismo, la Segunda Guerra Mundial y su final. La creación de Richard Strauss, inmensa cuantitativa y cualita- tivamente en poemas sinfónicos1, lieder2 y óperas abarca un amplio 1 Obra de origen musical, de carácter poético literario, cuya finalidad es mover sentimien- tos y despertar sensaciones, o describir una escena mediante la música. Generalmente, consta de un movimiento y destinado a la orquesta aunque puede ser para piano o para pequeñas formaciones instrumentales. 2 Canción en alemán; es un breve e intenso relato de carácter musical. Schubert, Schu- mann, Strauss son sus grandes creadores. Isla de Arriarán,Isla XL-XLI, de Arriarán pp. 647-655 — 647 Arabela de Richard Strauss en el Gran Teatro del Liceo periodo que parte del Romanticismo tardío hasta la mitad del siglo XX, esto es, desde Weber y Wagner a Stravinski; junto a Mahler re- presenta el progresivo desarrollo armónico y melódico basado en la densa masa orquestal, en la ruptura tonal, la expresividad vocal y un clasicismo formal que evolucionará y romperá sus moldes estructu- rales.