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Die Tote Stadt
Portrait Georges Rodenbach von Lucien Lévy-Dhurmer (1895). Die tote • Die Hauptpersonen Stadt • Paul – Marie – Marietta • Aufführungsgeschichte, Fotos • Fakten • Rodenbachs Roman und Drama • Genesis – Illustrationen – Bedeutung – Textauszug • Korngolds Oper • Korngolds Selbstzeugnis – Genesis – Handlung • Psychologie • Musik • Nähe zu Mahler – Gesangspartien – musikalisches Material – Instrumentation • Videobeispiele © Dr. Sabine Sonntag Hannover, 17. Juni 2011 DIE HAUPTPERSONEN Paul Die verstorbene Marie Die Tänzerin Marietta Die Hauptdarstellerin Brügge Die Hauptdarstellerin Brügge Une Ville Abandonnée von Fernand Khnopff (1904) AUFFÜHRNGSGESCHICHTE FOTOS Aufführungen Die tote Stadt • 1967: Wien • 1975: New York City Aufführungen Die tote Stadt • 5. Februar 1983, Deutsche Oper Berlin Götz Friedrich, Anmoderation der Sendung von Die tote Stadt, ARD Aufführungen Die tote Stadt • 1985: Wien • 1988: Düsseldorf • 1991: New York City • 1990: Niederl. Radio • 1993: Amsterdam • 1995: Ulm • 1996: Catania Aufführungen Die tote Stadt • 1997: Spoleto, Wiesbaden • 1998: Washington • 1999: Bremerhaven, Köln • 2000: Karlsruhe • 2001: Straßburg • 2002: Bremen, Gera • 2003: Braunschweig, Zürich, Stockholm Aufführungen Die tote Stadt • 2004: Berlin, Salzburg • 2005: Osnabrück • 2006: Genf, Barcelona, New York City • 2007: Hagen • 2008: Bonn • 2009: Nürnberg, Venedig • 2010: Bern, Helsinki, Regensburg London 2009 Berlin, Deutsche Oper, 2004 Frankfurt 2011 Gelsenkirchen 2010 Madrid 2010 New York 1975 Nürnberg 2010 Palermo 1996 Regensburg 2011 San Francisco 2008 Helsinki 2010 Die Wiederentdeckung 1983 Berlin, Deutsche Oper 1983 FAKTEN • Text von Paul Schott alias Julius Korngold, Erich Wolfgang Korngolds Vater. • UA am 4. Dezember 1920 gleichzeitig im Stadttheater Hamburg (Dirigent: Egon Pollack) sowie im Stadttheater Köln (Dirigent: Otto Klemperer) • 1921 Wien, 1921 Met (Met-Debut von Maria Jeritza) • Das Libretto basiert auf dem symbolistischen Roman Das tote Brügge Bruges-la-morte, 1892; dt. -
Die Tote Stadt Op
Die tote Stadt op. 12 Oper in drei Bildern Frei nach Georges Rodenbachs Roman Bruges-la-morte von Paul Schott Musik von Erich Wolfgang Korngold pERSONEN Paul Tenor Marietta, Tänzerin Sopran Die Erschienung Mariens , pauls verstorbener Gattin } Frank, pauls Freund Bariton Brigitta, bei paul Alt Juliette, Tänzerin Sopran Lucienne, Tänzerin in Mezzosopran Gaston, Tänzer mariettas Mimikerrolle Victorin, der Regisseur Truppe Tenor Fritz, der pierrot } Bariton Graf Albert Tenor Beghinen, die Erscheinung der prozession, Tänzer und Tänzerinnen. Die handlung spielt in Brügge, Ende des 19. Jahrhunderts; die Vorgänge der Vision (II. und zum Teil III. Bild) sind mehrere Wochen später nach jenen des I. Bildes zu denken. La città morta op. 12 Opera in tre quadri Libero adattamento del romanzo Bruges-la-morte di Georges Rodenbach, di Paul Schott Traduzione italiana di Anna Maria Morazzoni (© 2009)* Musica di Erich Wolfgang Korngold pERSONAGGI Paul Tenore Marietta, ballerina Soprano L’apparizione di Marie , defunta moglie di paul } Frank, amico di paul Baritono Brigitta, governante di paul Contralto Juliette, ballerina Soprano Lucienne, ballerina della Mezzosoprano Gaston, ballerino compagnia Mimo Victorin, il regista di marietta Tenore Fritz, il pierrot } Baritono Il conte Albert Tenore Beghine, l’apparizione della processione, ballerini e ballerine. L’azione si svolge a Bruges, alla fine del secolo XIX; gli avvenimenti della visione (Quadro II e parte del III) vanno pensati diverse settimane dopo quelli del Quadro I. Prima rappresentazione assoluta: Amburgo, Stadttheater, 4 dicembre 1920 * per gentile concessione del Teatro La Fenice di Venezia. La traduzione tiene conto anche della versione di Laureto Rodoni ( www.scrivi.com ); alcune scelte lessicali sono desunte dalle varie versioni italiane del romanzo. -
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 -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
Oliver Rathkolb Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List) A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations.1 It can not currently be reconstructed when exactly the first rings were awarded. In the archive of the Vienna Philharmonic, there are clues to a ring from 19282, and it follows from an undated index “Ehrenmitglieder, Träger des Ehrenrings, Nicolai Medaillen“3 that the second ring bearer, the Kammersänger Richard Mayr, had received the ring in 1929. Below the list of the first ring bearers: (Dates of the bestowal are not explicitly noted in the original) Dr. Felix von Weingartner (honorary member) Richard Mayr (Kammersänger, honorary member) Staatsrat Dr. Wilhelm Furtwängler (honorary member) Medizinalrat Dr. Josef Neubauer (honorary member) Lotte Lehmann (Kammersängerin) Elisabeth Schumann (Kammersängerin) Generalmusikdirektor Prof. Hans Knappertsbusch (March 12, 1938 on the occasion of his 50th birthday) In the Nazi era, for the first time (apart from Medizinalrat Dr. Josef Neubauer) not only artists were distinguished, but also Gen. Feldmarschall Wilhelm List (unclear when the ring was presented), Baldur von Schirach (March 30, 1942), Dr. Arthur Seyß-Inquart (March 30, 1942). 1 Archive of the Vienna Philharmonic, Depot State Opera, folder on the centennial celebrations 1942, list of the honorary members. 2 Information Dr. Silvia Kargl, AdWPh 3 This undated booklet was discovered in the Archive of the Vienna Philharmonic during its investigation by Dr. Silvia Kargl for possibly new documents for this project in February 2013. 1 Especially the presentation of the ring to Schirach in the context of the centennial celebration was openly propagated in the newspapers. -
Anno Schreier in Freiburg Gesungen
ANNO CSCHREIERLAUDE VIVIER KEINKOPER ORT. NIRGENDNIKUSS OPÉRA – rituel de morT YOUNG OPERA COMPANYOUNGY OPERA COMPANY YOUNGOPERACOMPANY.DE EWERK-FREIBURG.DE CLAUDE VIVIER (1948 – 1983) KOPERNIKUS YOUNG OPERA COMPANY FREIBURGER ERSTAUFFÜHRUNG Opéra – Rituel de mort in 2 Akten (1978/79) Libretto vom Komponisten Dauer: ca. 70 Minuten – keine Pause Musikalische Leitung: Klaus Simon Musikalische Assistenz: Hiroki Ojika DANKE: Inszenierung und Choreographie: Regieassistenz und Abendspielleitung: Johann Diel Christuskirche Freiburg: Pfarrerin Ute Jäger-Fleming, Hendrik Müller und Juliane Hollerbach Ausstattungsassistenz/Requisite: Annette Schubert Kantorin Hae-Kyung Jung, Kirchendiener Beck Bühne und Kostüme: Lena Lukjanova Technische Leitung: Georg Hallmann May-Bellinghausen-Halle: Herr Schramm Mitarbeit Regie: Johann Diel Licht: Oliver Lorenz Für die Ausleihe von Schlagwerk, Notenständern und Pultleuch- Dramaturgie: Cornelius Bauer Ton: Attila Viranyi ten: Musikhaus Gillhaus, Philharmonisches Orchester Freiburg Kostümanfertigung: Lena Lukjanova, Annette Schubert Für Unterstützung bei der Ausstattung: Th eater Freiburg Koloratursopran: Svea Schildknecht Presse- und Öff entlichkeitsarbeit: Christine Eyssel Für Ausleihe von Podesterie: Marie-Curie-Gymnasium Sopran: Dorothea Winkel Kirchzarten Mezzosopran: Uta Buchheister PREMIERE: Für die Ausleihe von Lichttechnik: E-WERK Freiburg Alt: Barbara Ostertag Freitag, 26.10.2012 – 20.30 Uhr Für die Bereitstellung von Quartieren für unsere Künstler: Sigrid Tenor: Neal Banerjee Christuskirche Freiburg, Zasiusstr. 5 und Georg Bopp, Gabriele und Matthias Brandis, Chrysanta und Bariton: Ji-Su Park Weitere Auff ührungen: Edwin Dreher, Renate und Günther Kiefer, Bernd Stein Bass: Florian Kontschak Sa. 27.10. / Fr. 2.11. / Sa. 3.11.2012, jeweils 20.30 Uhr Helfer: Urban Dreher, Sven Hinz, Manfred Kehl, Andrea Simon, Das Kind: Paulina Hinsch Einführung mit Sven Hinz jeweils 19.45 Friederike Trappe, Ralf Wachter Gemeindesaal der Christuskirche, Maienstr. -
Music on the Eve of the Third Reich
17 Music on the Eve of the Third Reich MICHAEL MEYER Das Husikleben ist kein Leben flir die Husik. Theodor \l, Adornol Ohne eine traßende Gemeinschaft, die dahintersteht, ist das musikalische Kunstwerk--im eigentlichen Sinne ein Gemeinschaftswerk--nicht lebensfähig. llilhelm Furt\vlinßler2 In view of its probler.1s, tenuousness, and brevity, and its proximity and special relationship to the Third Reich, the Heimar Republic has commonly been called a crisis state. Humerous contemr>orary commentators and later historians have examined ti1e economics, politics, and culture of Germany between 1919 and 1933 in terms of liberal, democratic, socialist, and conservative principles that were instituted to varying degrees in the period, only to then be abolished or channeled into the totalitarian dictatorship of Hational Socialism in 1933. The ideals reemerged and were reinstituted in the nost-Horld lvar II era, aßain in various combinations in both German successor states, and became the ideological framework for the historical analyses of conditions in the 1/eimar Republic. In sympathy wi th select lveimar ideals and horrified over the Third Reich, postwar and Holocaust historiaas have not been able to deal with the lleimar Republic discretely. Cultural achievement, tiwugh acbwwledged, consistently has been seen through the shadow of Auschwitz. Yet, the sense of dool'l, crisis, and failure is not the exclusive product of retrospection; it is contained in self-conscious lleinar commentary and introspection. A creature of nomentous historical forces and circumstance, the lleimar Republic :1ad i ts Vernunftrepublikaner who entertairred reservations ab out the new order but accepted it. Proßressive intellectuals shared with them a historical perspective, one of 316 Towards the Holocaust comparison and contradiction; a v ie~• of existence that stressed change, to some, even considered to be its essential feature. -
Erich Wolfgang Korngold Tadt S Die Tote La Città Tadt
CopertaToPrint_std:v 14-01-2009 10:43 Pagina 1 1 La Fenice prima dell’Opera 2009 1 2009 Fondazione Stagione 2009 Teatro La Fenice di Venezia Lirica e Balletto Erich Wolfgang Korngold tadt S Die tote La città tadt ie tote ie tote S morta D orngold K olfgang W rich E FONDAZIONE TEATRO LA FENICE DI VENEZIA CopertaToPrint_std:v 14-01-2009 10:43 Pagina 2 foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2009 Incontro con l’opera Teatro La Fenice - Sale Apollinee venerdì 16 gennaio 2009 ore 18.00 QUIRINO PRINCIPE Die tote Stadt Teatro La Fenice - Sale Apollinee venerdì 13 febbraio 2009 ore 18.00 LORENZO ARRUGA Roméo et Juliette Teatro La Fenice - Sale Apollinee venerdì 17 aprile 2009 ore 18.00 MASSIMO CONTIERO Maria Stuarda Teatro La Fenice - Sale Apollinee giovedì 14 maggio 2009 ore 18.00 LUCA MOSCA Madama Butterfly Teatro La Fenice - Sale Apollinee giovedì 18 giugno 2009 ore 18.00 GIORGIO PESTELLI Götterdämmerung Teatro La Fenice - Sale Apollinee mercoledì 2 settembre 2009 ore 18.00 GIANNI GARRERA Clavicembalo francese a due manuali copia dello La traviata strumento di Goermans-Taskin, costruito attorno alla metà del XVIII secolo (originale presso la Russell Teatro La Fenice - Sale Apollinee Collection di Edimburgo). lunedì 5 ottobre 2009 ore 18.00 Opera del M° cembalaro Luca Vismara di Seregno LORENZO BIANCONI (MI); ultimato nel gennaio 1998. -
Pfitzner Palestrina
PFITZNER PALESTRINA Liner notes, sung texts English (p.6), German (p.21), full tracklist (p.37) LINER NOTES Introduction composed a Scherzo in C minor for Orchestra, incidental music to "I have heard Hans Pfitzner's musical legend 'Palestrina' three Ibsen's "Feast af Solhaug" and a Cello Sonata, Op.1, first performed times so far, and it seems strange how effortless this austere and in Frankfurt in 1891. He spent the period 1892-93 teaching at the bold work has managed to find a niche for itself amongst my Conservatory in Koblenz, completing his first opera, "Der arme personal possessions. This work, intended as the embers of the Heinrich", a work heavily indebted to Wagner, in 1893. Later that romantic world of Schopenhauer and Wagner with its Düreresque year Pfitzner successfully conducted a concert of the Berlin and Faustian overtones, its metaphysical aura, its ethos of Philharmonic Orchestra entirely devoted to works from his pen. crucifixion, death and entombment, and its amalgam of music, Having become kapellmeister of the Municipal Theatre in Mainz pessimism and humour, is far from insignificant. Its appearance at without receiving a salary in the autumn of 1894, he went on to this point of time gives me solace and a pleasant sense of total direct the premiere of "Der arme Heimich" there on 2 April 1895. affinity; reflecting my own notion of humanity, it makes me feel During that year he began to take an interest in the theme of more positive, delivering me from polemics. Here is a great subject Palestrina. which I can gratefully embrace, until my feelings have calmed and I In 1897 the Stern Conservatory in Berlin engaged him as professor am my normal self again, and which allows me to dismiss he more of composition, a post he was to occupy for the next ten years. -
Opera Circle's Die Tote Stadt at the Ohio Theatre
Review: Opera Circle’s Die tote Stadt at the Ohio Theatre (June 14) by Daniel Hathaway Opera Circle staged an enticing production of Erich Korngold’s Die tote Stadt (“The Dead City”) on Saturday, June 14 at the Ohio Theatre in PlayHouseSquare. The opera is something of a rarity, probably because of the challenges of dealing with the eerie subtleties of its plot, its demand for a Heldentenor to sing the role of Paul, and its opulent 1920s orchestration. Die tote Stadt is a major undertaking for any small company, but Opera Circle admirably rose to the task. Though not flawless, the production succeeded in the most important operatic category: the music. A strong and dedicated cast of singers and generally fine playing from a 65- piece orchestra expertly led by Grigor Palikarov brought Korngold’s colorful and sometimes creepy music vividly to life. The opera, based on Georges Rodenbach’s 1892 novel, Bruges-la-Morte, and set in that Belgian canal town, explores the obsession of a widower (Paul) after the death of his wife (Marie). He sets up an altar in his house to enshrine her hair and other relics (the parallel to a vial of the blood of Christ preserved in the cathedral and processed through the streets once a year), but is unnerved when he meets Marietta, a dancer from Lille, and imagines her as a reincarnation of Marie. Marietta becomes the apex of a love triangle involving Paul and his friend Frank. The story hovers between reality and hallucination — complicated by an inexplicable second act encounter with a Pierrot troupe and a bizzare episode in which Paul believes he has strangled Marietta with Marie’s reliquated hair — finally resolving itself when Paul and Frank decide to turn their backs on this “City of Death.” The importance of the orchestra in Die tote Stadt was underlined in Opera Circle’s staging. -
Is Romance Dead? Erich Korngold and the Romantic
IS ROMANCE DEAD? ERICH KORNGOLD AND THE ROMANTIC GERMAN LIED By Georgia Jamieson Emms A thesis submitted to the Victoria University of Wellington in partial fulfillment of the requirements for the degree of Master of Music in Classical Performance New Zealand School of Music Victoria University 2017 1 ABSTRACT Far from being the operatic aria's less glamorous sister, the Romantic German Lied offers much dramatic scope for the classical performer. It has been described as the “quintessential Romantic genre”: the balanced and harmonious union of the music and text, in which the pianist and singer are equals. As accessible at private music gatherings as in concert halls, the Lied enjoyed popularity in German-speaking countries for over a hundred years, before facing its greatest adversary: Modernism. Romanticism, as an artistic movement, fought to survive in the uncertain musical and political landscape of the twentieth century. In Erich Korngold, Romantic music found a staunch advocate, and Lieder gained one of its most gifted contributors. Following in the daunting footsteps of Richard Strauss and Gustav Mahler, Korngold's unashamedly luscious, rich orchestrations and soaring melodies earned him the nickname “the Viennese Puccini.” A child prodigy, Erich Korngold's rise was swift and glorious; his fall coincided with that of the German Lied and Romanticism itself. Romance may not have “died”, but it became outdated in the twentieth-century push for modernity and innovation across all art forms. In encyclopedias little is written of Korngold and his compositional output beyond his most famous and enduring opera Die tote Stadt, and his pioneering film scoring in pre- and post-war Hollywood. -
Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and