Kulturelles Erbe“
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Richard Strauss and Vienna.Pdf
Arabella 2018 insert.qxp_Arabella 2018 10/3/18 3:36 PM Page 4 B Y P AUL T HOMASON man, not an Austrian. For many Americans today that can seem like a distinction without much of a difference, but a century ago it was ichard trauss enough to make Strauss’ tenure at the Vienna State Opera a night- R S mare, rather than the dream job he had hoped it would be. Strauss stepped foot in Vienna for the first time in December 1882. ienna He wrote back home to his parents in Munich with all the savoir faire &V of a typical 18-year-old boy that it was “… just an ordinary city like Munich, only the houses are bigger, more palaces than inhabitants. t is natural we should equate Richard Strauss with Vienna. The girls aren’t any prettier than they are in Munich.” His weeklong After all, he wrote the quintessential Viennese opera, Der stay was designed to introduce himself to prominent musicians and Rosenkavalier, a glittering yet poignant work shot through with to make his music known. Toward that end he and his cousin, the vio- waltzes that seems to define the soul of the 18th-century city. The linist Benno Walter, gave a concert on the fifth of December in the old Ifact that Rosenkavalier is so much more than a nostalgic Neverland Bösendorfer concert rooms. On the program was the premiere of of an opera is what keeps its characters and their situations so Strauss’ Violin Concerto with the composer at the piano in place of an alive and makes it meaningful to listeners today. -
Handout VCV W -P-3-42-19
vcv(w)-p-3-42-19 1 Die 100 VCV(W)-Vorträge über „Künste in der & um die Romantik“ - ein Zyklus von Vortragsabenden über vorwiegend (spät)romantische ( - aber auch prä/para/post/…/neo-romantische - ) Künste/…/Kunstwerke für Musik/Malerei/…/Architektur-Freundinnen/Freunde und alle anderen Kunstliebhaber(innen) an jedem 2. Dienstag in jedem Monat im „art hotel weimar“ („Freiherr v. Stein“- Allee/Feuerbachstr.) ab 20:00 Uhr (Gesamtleitung: Prof. Wolf-G. Leidel, Vorsitzender des VCV(W) [„Vox coelestis“-e.V. Weimar]) - ---------------------------------------------------------------------- Vortrag Nr. 19 ( = Projekt „VCV(W)-P-3-42-19“) ----------------------------------------------------------------------------------------------- Nicht zum öffentlichen Gebrauch: nur für VCV(W)-Mitglieder und Besucher/Gäste des o.g. Vortragzyklus’! ------------------------------------------------------------------------------------------------------------------------- Stand vom 28. August 2008 --- VCV(W)-Projekt ( = VCV(W)-P-…) „3-42-19“ --- Irrtümer vorbehalten! --- All rights by VCV(W)! ----------------------------------------------------- Das Thema dieses 19. Abends: „Die letzten beiden Opern von Richard Strauss: „Capriccio“ und „Des Esels Schatten““ ----------------------------------------------------- Chr.-M. Wieland AUS EINEM TEXT ZU „DES ESELS SCHATTEN“ "…man kann nicht sagen: „Hier ist Abdera oder da ist Abdera!“: Abdera ist allenthalben, und wir sind gewissermaßen alle da zu Hause…" ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: -
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. -
Catalogue 2018
CATALOGUE 2018 Cast The Arthaus Musik classical music catalogue features more than 400 productions from the beginning of the 1990s until today. Outstanding conductors, such as Claudio Abbado, Lorin Maazel, Giuseppe Sinopoli and Sir Georg Solti, as well as world-famous singers like Placido Domingo, Brigitte Fassbaender, Marylin Horne, Eva Marton, Luciano Pavarotti, Cheryl Studer and Dame Joan Sutherland put their stamp on this voluminous catalogue. The productions were recorded at the world’s most renowned opera houses, among them Wiener Staatsoper, San Francisco Opera House, Teatro alla Scala, the Salzburg Festival and the Glyndebourne Festival. Unitel and Arthaus Musik are proud to announce a new partnership according to which the prestigious Arthaus Musik catalogue will now be distributed by Unitel, hence also by Unitel’s distribution partner C Major Entertainment. World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Arthaus · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de OPERA ................................................................................................................................. 3 OPERETTA ......................................................................................................................... 35 BALLET ............................................................................................................................... 36 CONCERT........................................................................................................................... -
Bruckner ~ Journal
Bruckner ~ journal Issued three times a year and sold by subscription Editorial and advertising: telephone 0115 928 8300 2 Rivergreen Close, Beeston, GB-Nottingham NG9 3ES Subscriptions and mailing: telephone 01384 566 383 4 lulworth Close, Halesowen, West Midlands B63 2UJ VOLUME FOUR, NUMBER ONE, MARCH 2000 Editor: Peter Palmer Managing Editor: Raymond Cox Associate Editor: Crawford Howie In This Issue page Concerts 2 Ttl: De _ urn hu .. dl~mu,:'e Oo.mLnu~ con .. ti _ tt _ mor. In memoriam Georg T1 ntner 4 Compact Discs 5 Book Review 9 Ignaz Darn by Elisabeth Maier 14 Franz Schalk & Bruckner's Fifth by David H. Aldeborgh, Takeo Noguchi, Dermot Gault, Peter Palmer 19 Feedback 34 Cover Artist 35 Calendar 36 Contri butors: the next copy deadline is 15 May. Material (except letters to the Editor) in typescript, please. Copyright in all material is retained by the authors. Translations (pp.14-18, p.34) by Peter Palrrer. Cover based on an idea by John Wright. Silhouette by Otto BOhler. 2 CON C E R T S LEIPZIG GEWANDHAUS ORCHESTRA/Herbert Blomstedt CITY OF BIRMINGHAM SYMPHONY ORCHESTRA/Matthias Bamert Symphony Hall, Birmingham Many readers will have heard the first of these orchestras in Birmingham as the performance was broadcast live on BBC Radio 3 (October 14). Given the orchestra's long Bruckner tradition, it would be surprising if the playing had lacked assurance. That is especially true of the Seventh Symphony, for it was the musicians of the Leipzig Gewandhaus who gave the first complete performance to great acclaim in 1884, and their present conductor has developed an affinity with it over many years. -
Endversion Vom 10.05.2010
Dissertation Titel der Dissertation Hans Gregor - Die Ära des letzten Hofoperndirektors in Wien Verfasserin Mag. Liselotte Regler angestrebter akademischer Grad Doktor der Philosophie (Dr.phil.) Wien, 2010 Studienkenzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Brigitte Marschall 1 Diese Arbeit widme ich meinen Kindern Barbara, Martina, Cornelia und Bernhard 2 3 4 Inhaltsverzeichnis Seite 1 Einleitung 8 2 Lebenslauf 14 2.1. Geburt und Berufsausbildungen 14 2.2. Bühnenlaufbahn und Erfahrungen 16 2.3. Ein neuer Abschnitt: Theaterleiter 18 3 Hans Gregors Reformansätze der Opernszene 26 4 Hans Gregor als Opernregisseur und seine Komische Oper 32 Berlin 4.1. Errichtung der Komischen Oper und Direktion 32 4.2. Gregors Inszenierungen 45 5 Die Vorgänger Gregors in Wien 58 6 Hofoperndirektor Hans Gregor 66 6.1. Gregors Engagement 66 6.2. Opernalltag, Organisation, erste Schwierigkeiten 79 (1911 – 1914 Friedenszeit) 6.3. Opernalltag und Organisation (1914 -1918 Kriegszeit) 123 7 Die wichtigsten KünstlerInnen seiner Ära 192 7.1. Dirigenten 192 7.2. Sängerinnen 210 7.2.1. Bahr-Mildenburg, Anna 210 7.2.2. Gutheil-Schoder, Marie 216 7.2.3. Kiurina, Berta 218 7.2.4. Halban-Kurz, Selma 221 7.2.5. Lehmann, Lotte 227 7.2.6. Jeritza, Maria 231 7.2.7. Weidt, Lucie 238 7.3. Sänger 243 7.3.1. Baklanoff, Georges 243 7.3.2. Burrian, Karl 246 7.3.3. Mayr, Richard 249 7.3.4. Piccaver, Alfred 251 7.3.5. Schmedes, Erik 254 7.3.6. Slezak, Leo 257 7.3.7. Miller, William 260 7.3.8. -
Handout VCV W -P-3-42-17
vcv(w)-p-3-42-17 1 Die 100 VCV(W)-Vorträge über „Künste in der & um die Romantik“ - ein Zyklus von Vortragsabenden über vorwiegend (spät)romantische ( - aber auch prä/para/post/…/neo-romantische - ) Künste/…/Kunstwerke für Musik/Malerei/…/Architektur-Freundinnen/Freunde und alle anderen Kunstliebhaber(innen) an jedem 2. Dienstag in jedem Monat im „art hotel weimar“ („Freiherr v. Stein“-Allee 3 a/b) ab 20:00 Uhr (Gesamtleitung: Prof. Wolf-G. Leidel, Vorsitzender des VCV(W) [„Vox coelestis“-e.V. Weimar]) - ---------------------------------------------------------------------- Vortrag Nr. 017 ( = Projekt „VCV(W)-P-3-42-17“) ----------------------------------------------------------------------------------------------- Nicht zum öffentlichen Gebrauch: nur für VCV(W)-Mitglieder und Besucher/Gäste des o.g. Vortragzyklus’! ------------------------------------------------------------------------------------------------------------------------- Stand vom 22. März 2007 --- VCV(W)-Projekt ( = VCV(W)-P-…) „3-42-17“ --- Irrtümer vorbehalten! --- All rights by VCV(W)! ----------------------------------------------------- Das Thema dieses 17. Abends: „Richard Strauss’ „Chef d’OEuvre“-Oper „Die Frau ohne Schatten“ (Abkürzung: „Fr.o.sch.“)“ ----------------------------------------------------- Hugo von Hofmannsthal (1894) TERZINEN ÜBER VERGÄNGLICHKEIT Noch spür ich ihren Atem auf den Wangen: wie kann das sein, daß diese nahen Tage fort sind, für immer fort, und ganz vergangen? Dies’ ist ein Ding, das keiner voll aussinnt, und viel zu grauenvoll, als daß -
The Era of Gustav Mahler (1897-1907) and the Era of Richard Strauss/Franz Schalk (1918-1921) Are Reckoned to Be the Most Splendid Periods of the Vienna Opera
The era of Gustav Mahler (1897-1907) and the era of Richard Strauss/Franz Schalk (1918-1921) are reckoned to be the most splendid periods of the Vienna Opera. Little is known about Hans Gregor (1866 Dresden - Berlin 1945), who directed the Vienna Opera House from 1911 to 1918. The founder and leader of the "Komische Oper Berlin" was called to Vienna after the embittered retirement of Gustav Mahler and the three years intermezzo of Felix Weingartner. Gregor had become well known in Germany with highly acknowledged opera productions, where he transmitted his reforming ideas about the opera as a musical drama. He was considered to be the "Max Reinhard of the opera stage" but also a man with a good sense for the financial side. Gregor, a German, rigourous in organising, actually never gained popularity in Vienna. His programme for the opera, including repertoire, the new productions and their style of stage setting, was more and more denied by the local press.He was soon forgotten after his dismissal in1918 at the end of the war. The chronicles of the Vienna Opera deliver for a long while the unaccounted bad jugdement about the "unartistic" director, who "lost the heritage of Mahler definitive" and state the date of his his death as 1919 instead of 1945. The aim of the actual project is to establish an academic report on opera and ballet and their style of setting productions under the directorship of Gregor. To this day we don't know the set designers of Richard Strauss´ opera "Ariadne auf Naxos", world premiere in Vienna 1916, and the "Salome" premiere 1918.