Lohengrin Page 1 of 2 Opera Assn

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San Francisco War Memorial 2012-2013 Lohengrin Page 1 of 2 Opera Assn. Opera House Lohengrin (in German) Opera in three acts by Richard Wagner Libretto by Richard Wagner Conductor CAST Nicola Luisotti The King's Herald Brian Mulligan* Director King Heinrich der Vogler Kristinn Sigmundsson Daniel Slater Friedrich von Telramund Gerd Grochowski Production designer Ortrud Petra Lang Robert Innes Hopkins Elsa von Brabant Camilla Nylund Lighting Designer Lohengrin Brandon Jovanovich* Simon Mills Nobles of Brabant Nathaniel Peake Chorus Director Robert Watson Ian Robertson Joo Won Kang Movement Director Ryan Kuster Leah Hausman Gottfried von Brabant Dylan Zorn Fight Director Ivan Kiryakin Jonathan Rider *Role debut †U.S. opera debut Assistant conductor Steven Moore PLACE AND TIME: Musical Preparation John Churchwell Jonathan Kelly Curt Pajer Giuseppe Finzi Dennis Doubin Fabrizio Corona Prompter Jonathan Khuner Supertitles Philip Kuttner Assistant Director Roy Rallo Michelle Magaldi Stage Manager Rachel Henneberry Costume supervisor Christopher Verdosci Saturday, October 20 2012, at 7:00 PM ACT I Wednesday, October 24 2012, at 7:00 PM - INTERMISSION - Sunday, October 28 2012, at 1:00 PM ACT II Wednesday, October 31 2012, at 7:00 PM - INTERMISSION - Saturday, November 3 2012, at 7:00 PM ACT III Tuesday, November 6 2012, at 7:00 PM Friday, November 9 2012, at 7:00 PM San Francisco War Memorial 2012-2013 Lohengrin Page 2 of 2 Opera Assn. Opera House Sponsors: This production is made possible, in part, by The Bernard Osher endowment Fund. Nicola Luisotti’s appearance made possible by Jan Shrem and Maria Manetti Shrem, Chairs, Amici di Nicola of Camerata. Additional support for this production provided by Affiliate Sponsors Betty and Jack Schafer. Notes: A co-production of Houston Grand Opera and Grand Théâtre de Genève In this production, Gottfried appears in the prelude of the opera as well as at the very end of Act III, and the role is portrayed by two different children in each performance: Dylan Zorn (Act I) and Ivan Kiryakin (Act III). California’s child labor laws state that a child can only rehearse or perform for a maximum of three hours on a school day. Since the production is four hours, 20 minutes, we have divided the duties required of the role. ONSTAGE HERALD TRUMPETS David Burkhart Scott Macomber John Freeman Jeffrey Lewandowski SUPERNUMERARIES Dieter Bluhm James Crow Joe Friedman Mike Harvey Larry Severino Valentina Simi Ruby Smith Carlos Suarez Mary Vogt.

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Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012. Photographer: Alexander Kenney. Copyright CC-BY-NC-ND, Royal Opera, Stockholm. 2. No Questions Asked: Wagnerian Love Ban in Lohengrin The fascination of operatic art resides in its abundance. Liberated from the constraints of realism and probability, the spectator can sur- render to it or to turn away entirely, and enjoy it like an oyster: either swallowed whole or not at all.1 The critical operagoer, particularly a feminist one, has many challenging positions to negotiate. Will the confrontation lead to a rejection of the entire genre? Susan McClary observes that the aspect of music that is most difficult to account for is its almost frightening ability to make our entire body respond to its rhythms.2 What, then, would opera be without music? What would remain if the music were stripped away and all that were left was the libretto? Could it stand on its own? The text of an opera or musical drama represents a unique genre. Unlike other dramatic texts, an opera’s libretto is made whole only by the musical accompaniment and the events that accompany it on stage. A libretto is generally shorter and more fragmentary than any other type of dramatic text because it takes at least three times longer to sing a piece than to recite it. One needs to leave room for the music: the form demands it.3 Nevertheless, it should be possible to carry out a dispassiona- te reading of a libretto, as we shall here attempt with Richard Wagner’s Lohengrin (1848).
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GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
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Vorwort Auch Den Bei Carl Friedrich Meser in Zig 1895, S
III Vorwort auch den bei Carl Friedrich Meser in zig 1895, S. 179), jedoch kam es aus un- Dresden veröffentlichten, eigenhändig bekannten Gründen nicht dazu. Eine angefertigten Klavierauszug. Rolle könnte der enorme technische Nach der erfolgreichen Premiere in Anspruch gespielt haben, den Liszt be- Weimar, die Wagner nicht besuchen reits im zitierten Brief an Wagner an- Im Rückblick betonte Franz Liszt (1811 – konnte, berichtete Liszt seinem Freund sprach. 86) gegenüber dem Verlag Breitkopf & erstmals von seinen beiden Tannhäuser- Ein Jahr später schenkte Liszt das Härtel, seine „Wagner-Transcriptionen“ Bearbeitungen: „Wissen Sie, was mir ein- mit einer Widmung an Bülow versehene hätten „Anfangs der 50er Jahre, wo gefallen ist? Nicht mehr und nicht weni- Autograph der Ouvertüren-Bearbeitung allein das Weimarer Theater die Ehre ger als mir auf meine Art und für das diesem beim Zusammentreffen in Wei- hatte, ,Tannhäuser‘, ,Lohengrin‘ und Klavier die Tannhäuser-Ouvertüre und mar, und zwar, wie Bülow sich später den ,fliegenden Holländer‘ aufzufüh- die ganze Szene: ,O du mein holder erinnerte, „nach der ersten Aufführung ren, […] nur als bescheidene Propagan- Abendstern‘ aus dem dritten Akt anzu- des Lohengrin“ am 28. August 1850 da am dürftigen Clavier für den hehren eignen. – Was die erstere angeht, glaube (zitiert nach Nikolaus Oesterlein, Kata- Genius Wagner’s“ gedient (Brief vom ich, daß sich wenige Spieler finden wer- log einer Richard Wagner-Bibliothek, 23. November 1876, in: Franz Liszt’s den, welche ihre technische Schwierig- Bd. 2, Leipzig 1886, S. 33). Als Ersatz Briefe, hrsg. von La Mara, Bd. 2, Leip- keit meistern, aber die Szene des ,Abend- für das Autograph erstellte Bülow eigen- zig 1893, S.
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Download Booklet
8.111348 bk Furtwangler_Wagner_EU 14-12-2009 10:25 Pagina 4 Great Conductors: Wilhelm Furtwängler WAGNER Richard WAGNER (1813-1883) Tannhäuser Tannhäuser • Lohengrin 1 Overture 14:02 Recorded at the Musikvereinssaal, Vienna, 2-3 December, 1952 Götterdämmerung First issued on Electrola WALP 534 UR M F TWÄ Lohengrin EL NG 2 Prelude (Act 1) 9:59 H L IL E Recorded at the Musikvereinssaal, Vienna, 4 March, 1954 R W First issued on HMV ALP 1220 Götterdammerung 3 Dawn and Siegfried’s Rhine Journey (Prologue) 12:04 Recorded at the Musikvereinssaal, Vienna, 8 March, 1954 First issued on HMV ALP 1016 4 Siegfried’s Funeral Music (Act 3) 9:17 Recorded at the Musikvereinssaal, Vienna, 2 March, 1954 First issued on HMV ALP 1016 Vienna Philharmonic Orchestra 19 gs 52 din - 1954 Recor 5 Starke Scheite schichtet mir dort (Brünnhilde’s Immolation, Act 3) 19:37 Kirsten Flagstad, Soprano Philharmonia Orchestra Kirsten Flagstad Recorded in Kingsway Hall, London, 23 June, 1952 Vienna Philharmonic Orchestra First issued on HMV ALP 1016 Philharmonia Orchestra Wilhelm Furtwängler Wilhelm Furtwängler Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.111348 4 8.111348 bk Furtwangler_Wagner_EU 14-12-2009 10:25 Pagina 2 the music to move forward in an organic way. though, continue to give concerts and make recordings, Great Conductors: Wilhelm Furtwängler (1886-1954) The two orchestral excerpts from and between 1958 and 1960 she was director of WAGNER: Tannhäuser: Overture • Lohengrin: Prelude to Act 1 Götterdammerung, the final part of the tetralogy Der Norwegian National Opera. Ring des Nibelungen (The Ring), first heard complete Quite obviously, Flagstad and Furtwängler were Götterdämmerung: Dawn and Siegfried’s Rhine Journey, Siegfried’s Funeral in Wagner’s custom-built Bayreuth Festspielhaus in close as musicians over an extended period of time; and Music and Brünnhilde’s Immolation 1876, include Dawn and Siegfried’s Rhine Journey they also shared unfortunate experiences during or (from Act I), which opens in exploratory fashion and related to World War II.
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