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SCHOENBERG Moses Und Aron

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660158-59 bk Schoenberg US 6/13/06 11:02 AM Page 12 Stuttgart Staatsorchester 2 CDs The Württemberg Stuttgart State Orchestra has a history of over four hundred years, established in 1589 as the SCHOENBERG Court Orchestra of Württemberg. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then Moses und Aron General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. The tradition of first performances has included the première of Strauss’s Ariadne auf Naxos in 1912, conducted by the composer, in Schöne • Merritt • Bespalovaite • Schneider • Ebbecke • Dürr 1921 of a one-acter by Hindemith, and in recent times works by Orff, Penderecki, Glass, Zender, Riehm and Hölszky. In the twentieth century there was collaboration with Fritz Busch, Carl Leonhardt, Franz Konwitschny, Hans Swarowsky and Herbert Albert, and in particular with Max von Schillings and Ferdinand Leitner, and in more Stuttgart State Opera Chorus • Polish Radio Choir, Kraków recent years with conductors such as Carlos Kleiber, Vaclav Neumann, Silvio Varviso, Janos Kulka, Dennis Russell Davies, Garcia Navarro und Gabriele Ferro as Music Directors and Conductor, and as guests, Georg Solti, Carlo Stuttgart State Opera Children’s Chorus Maria Giulini and Riccardo Chailly. Lothar Zagrosek took over the helm of the orchestra in 1997, and has been responsible for a number of important and innovative performances. In 2002 the orchestra was named Orchestra of Stuttgart State Orchestra • Roland Kluttig the Year by Opernwelt. The work of the orchestra has included recordings and DVDs, in addition to symphony concerts and chamber music performed by members of the orchestra. Roland Kluttig Born in Radeberg in 1968, Roland Kluttig studied at the Dresden Musikhochschule and made his début as a conductor with Mozart’s Le nozze di Figaro at the Dresden Festival. He held an award from the German Music Council and the Schloss Solitude Academy and worked with the conductors Peter Eötvös, Sylvain Cambreling and John Eliot Gardiner. From 1993 to 1999 he directed the Berlin New Music Chamber Ensemble. From 2000 to 2004 he was Kapellmeister and Musical Assistant to Lothar Zagrosek at the Stuttgart State Opera, where he conducted the revival of Nono’s Al gran sole carico d’amore, Lachenmann’s Das Mädchen mit den Schwefelhölzern, Don Carlo, Les contes d’Hoffmann, La finta giardiniera and Don Giovanni. In 2004 he was entrusted with the musical direction of Morton Feldman’s Neither in Stuttgart and Mozart’s Die Entführung aus dem Serail in Innsbruck. He started 2005 with the première of Richard Ayre’s opera The cricket recovers at the Aldeburgh Festival. He makes regular guest appearances with the SWR Orchestras in Stuttgart and Baden-Baden/Freiburg, the Berlin Symphony Orchestra, the German Symphony Orchestra and the Berlin Radio Symphony Orchestra, as well as ASKO Amsterdam and the Vienna Klangforum. He has carried out engagements at the Berlin Festival, Munich Biennale, the Donaueschinger Musiktage and the Holland Festival and since his American début in 2004 has been principal conductor of the Crested Butte Music Festival. 8.660158-59 12 660158-59 bk Schoenberg US 6/13/06 11:02 AM Page 2 Arnold Stuttgart State Opera Chorus SCHOENBERG The Stuttgart State Opera Chorus traces its history back to 1552 as a court musical establishment. It developed as (1874-1951) the State Opera Chorus under the leadership of its long-standing choral director Ulrich Eistert (1972-2001) and Michael Alber (since 2001), with the deputy chorus-master Johannes Knecht. It has acquired a critical and public Moses und Aron reputation for its homogenous sound and its dramatic presence, with singers of soloistic quality and experience. It Text by the Composer was for the sixth time named Opera Chorus of the Year by the review Opernwelt, among other things for its Acts I and II performances in Moses und Aron, Lachenmann’s Das Mädchen mit den Schwefelhölzern, Busoni’s Doktor Faust, Götterdämmerung, and Verdi’s Otello. With a wide-ranging repertoire the chorus also appears in symphony and Moses . Wolfgang Schöne chamber concerts. Aaron . Chris Merritt Young Girl . Irena Bespalovaite Young Man . Bernhard Schneider Michael Alber Another Man / Ephraimite . Michael Ebbecke Born in Tuttlingen, Michael Alber studied school music, jazz, and orchestral and choral conducting in Stuttgart, Priest . Karl-Friedrich Dürr Trossingen and in Vienna with Otmat Suitner. From 1994 to 2001 he was deputy chorus-master and since the First Elder . Ulrich Frisch 2001/02 season has been director of the Stuttgart State Opera Chorus, preparing some twenty new productions, Second Elder . Sa‰a Vrabac including King Arthur, Rienzi, Die Gezeichneten, Der Rosenkavalier, Giuseppe e Sylvia, Das Mädchen mit den Third Elder . Stephan Storck Schwefelhölzern, Norma, La Bohème and Don Carlo. He has superintended a number of revivals and has conducted the State Opera Chorus in chamber concerts, including a première by Stephan Storck. He is associated also with Invalid Woman . Emma Curtis other choruses, including the SWR Vocal Ensemble. Four Naked Virgins Irena Bespalovaite · Helga Rós Indridadóttir · Naomi Ishizu · Emma Curtis Polish Radio Choir, Kraków A Naked Youth . Alois Riedel The Polish Radio Choir was founded by Jerzy Gert in 1947 and until 1993 was an integral part of the Orchestra and Six Solo Voices Choir of Polish Radio and Television. Since January 1995 the ensemble has existed independently as the Polish Barbara Kosviner · Ilona Wirgler · Ingrid Zielosko · Siegfried Laukner Radio Choir in Kraków with Wlodzimierz Siedlik appointed as its director and artistic manager. The Polish Radio Peter Schaufelberger · Sa‰a Vrabac Choir has performed and recorded innumerable vocal and instrumental compositions under the baton of many distinguished Polish and foreign conductors, among them Stanisl/aw Wisl/ocki, Jan Krenz, Jerzy Semkow, Giuseppe Stuttgart State Orchestra Sinopoli, Yuri Ahronovitch, and Bruno Bartoletti, as well as having Nadia Boulanger as a guest. The choir has a wide range of repertoire of unaccompanied and accompanied choral music from various periods, and has recorded Stuttgart State Opera Chorus • Stuttgart State Opera Children’s Chorus many works for the archive of the Polish Radio and CDs for Polish and foreign companies. The choir has (Chorus-master: Michael Alber) collaborated in staged performances of Schoenberg’s opera Moses und Aron in various theatres, including Polish Radio Choir, Kraków Darmstadt, Palermo, Stuttgart, and Hamburg. (Chorus-master: Marek Kluza) Roland Kluttig A performance by the Stuttgart State Opera Stage direction: Jossi Wieler and Sergio Morabito Production designer: Anna Viebrock • Artistic director: Klaus Zehelein 8.660158-59 211 8.660158-59 660158-59 bk Schoenberg US 6/13/06 11:02 AM Page 10 Bernhard Schneider CD 1 52:02 Act II Bernhard Schneider has been a member of the Stuttgart State Opera since 1998. He studied at the Cologne Act I 2 Scene 1: Aron und die siebzig Ältesten vor dem Musikhochschule with Hans Sotin and during his training worked with the German Opera am Rhein, followed by Berg der Offenbarung 1 Scene 1: Moses Berufung (The Calling of Moses) (Aaron and the Seventy Elders before the engagements in Krefeld-Mönchengladbach and in Gelsenkirchen-Wuppertal. He made his début at Bayreuth in 1996, „Einziger, ewiger, allgegenwärtiger, unsichtbarer singing Vogelgesang in Die Meistersinger, the Young Sailor in Tristan und Isolde, First Nobleman in Lohengrin and und unverstellbarer Gott!“ Mount of Revelation) 3:34 a Squire in Parsifal. In Bremen he appeared as Ernesto in Don Pasquale and David in Die Meistersinger. In Stuttgart (Only, eternal, all-present, invisible and „Vierzig Tage! Vierzig Tage liegen wir he has sung Andres in Wozzeck, Truffaldino in The Love for Three Oranges, Kilian in Der Freischütz, Lucano / unimaginable God!) 10:05 nun schon hier!“ Famigliare in L’incoronazione di Poppea, Czekalinski in The Queen of Spades, Iro in Il ritorno di Ulisse in patria, (Moses) (Forty Days! Forty days we are still waiting here!) Froh in Das Rheingold, Alfred in Die Fledermaus, Don Velasco in Masaniello furioso as well as Oronte in Alcina, 2 Scene 2: Moses begegnet Aron in der Wüste (Seventy Elders, Priest, Aaron) the First Jew in Salome, the Algerian in Intolleranza 1960 and Wenzel in The Bartered Bride. (Moses meets Aaron in the Wilderness) 3 Scene 2: „Wo ist Moses? Daß wir ihn zerreißen!“ „Du Sohn meiner Väter … Du Sohn meines Vaters, (Where is Moses? That we may tear him in Bruder des Geistes“ pieces!) 8:35 Michael Ebbecke (Son of my fathers … Son of my father, brother in spirit) 7:55 (Chorus, Seventy Elders, Aaron) (Aaron, Moses) 4 Scene 3: Das goldene Kalb und der Altar Michael Ebbecke is a Kammersänger in the Stuttgart State Opera and has sung all the major baritone rôles, 3 Scene 3: Moses und Aron verkünden dem Volk (The Golden Calf and the Altar) including Don Giovanni, Count Almaviva, Figaro, Germont, Ulisse, Wolfram, the Herald in Lohengrin and the rôle die Botschaft Gottes „Diese Bild bezeugt daß in allem was ist, of Verdi in Hans Neuenfels’s première of Adriana Hölszky’s opera Giuseppe e Sylvia. Guest engagements have (Moses and Aaron announce to the People God’s ein Gott lebt!“ taken him to Buenos Aires, Geneva, Lisbon, Prague, Paris, Milan, Madrid, Vienna and Zurich. Recent rôles in Message) (This image is witness that in all that is, Stuttgart include Ludovico Nardi in Die Gezeichneten, Dr Falke in Die Fledermaus, Don Fernando in Fidelio and „Ich hab ihn gesehn, als eine feurige Flamme“ God lives!) 10:26 Jochanaan in Salome.
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    Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism Maurice Cohn Candidate for Senior Honors in History, Oberlin College Thesis Advisor: Annemarie Sammartino Submitted Spring 2017 !2 Table of Contents Acknowledgments 3 Introduction 4 Chapter One 14 Chapter Two 34 Chapter Three 44 Conclusion 58 Bibliography 62 !3 Acknowledgments I have tremendous gratitude and gratefulness for all of the people who helped make this thesis a reality. There are far too many individuals for a complete list here, but I would like to mention a few. Firstly, to my advisor Ari Sammartino, who also chaired the honors seminar this year. Her intellectual guidance has been transformational for me, and I am incredibly thankful to have had her mentorship. Secondly, to the honors seminar students for 2016—2017. Their feedback and camaraderie was a wonderful counterweight to a thesis process that is often solitary. Thirdly, to Oberlin College and Conservatory. I have benefited enormously from my ability to be a double-degree student here, and am continually amazed by the support and dedication of both faculties to make this program work. And finally to my parents, Steve Cohn and Nancy Eberhardt. They were my first teachers, and remain my intellectual role models. !4 Introduction In 1946, Arnold Schoenberg composed a trio for violin, viola, and cello. Schoenberg earned his reputation as the quintessential musical modernist through complex, often gargantuan pieces with expansive and closely followed musical structures. By contrast, the musical building blocks of the trio are small and the writing is fragmented. The composer Martin Boykan wrote that the trio “is marked by interpolations, interruptions, even non-sequiturs, so that at times Schoenberg seems to be poised at the edge of incoherence.”1 Scattered throughout the piece are musical allusions to the Viennese waltz.
  • 03-10-2018 Semiramide Mat.Indd

    03-10-2018 Semiramide Mat.Indd

    GIOACHINO ROSSINI semiramide conductor Opera in two acts Maurizio Benini Libretto by Gaetano Rossi, based on production John Copley the play Sémiramis by Voltaire set designer Saturday, March 10, 2018 John Conklin 1:00–4:40 PM costume designer Michael Stennett lighting designer John Froelich revival stage director The production of Semiramide was Roy Rallo made possible by a generous gift from the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader’s Digest Association, Inc. The revival of this production is made possible by a gift from Ekkehart Hassels-Weiler general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 34th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance semiramide is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Maurizio Benini Network, sponsored in order of vocal appearance by Toll Brothers, America’s luxury oroe, high priest of the magi ® homebuilder , with Ryan Speedo Green* generous long-term support from idreno, an indian prince The Annenberg Javier Camarena Foundation, The Neubauer Family assur, a prince Foundation, the Ildar Abdrazakov Vincent A. Stabile Endowment for semir amide, queen of babylon Broadcast Media, Angela Meade and contributions from listeners arsace, commander of the assyrian army worldwide. Elizabeth DeShong There is no Toll Brothers– a zema, a princess Metropolitan Sarah Shafer Opera Quiz in List Hall today. mitr ane, captain of the guard Kang Wang** This performance is also being broadcast ghost of king nino live on Metropolitan Jeremy Galyon Opera Radio on SiriusXM channel 75.