DOCSLIB.ORG

27. Coburger Neujahrskonzert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
27. Coburger Neujahrskonzert Termine im Kulturjahr 2014 13. Januar 2014 Podium junger Künstler: 20.00 Uhr Klarinettentrio „Trio van Wauwe“ Kongresshaus Rosengarten 09. März 2014 Jugend spielt für Jugend 11.00 Uhr Landestheater Coburg 07. April - 04. Mai 2014 Ausstellung „Robert Reiter: Ein- und Ausblicke - Alte Angerhalle Landschaftsmalerei eines Coburgers“ DAS ORIGINAL 20. April 2014 Osterkonzert mit dem Jugendsymphonieorchester 17.00 Uhr des Bezirks Oberfranken Kongresshaus Rosengarten 27. COBURGER 31. Mai 2014 Jubiläumskonzert mit dem Melchior-Franck-Kreis 11.00 Uhr Coburg anlässlich des 450. Geburtstags von Schloss Ehrenburg Herzog Johann Casimir NEUJAHRSKONZERT 28. Juni 2014 Klassik Open Air 20.30 Uhr Rosengarten Es unterhalten Sie 20. Juli 2014 19. Serenade mit dem Collegium musicum 19.00 Uhr Veste Coburg Das Alt-Wiener Strauss-Ensemble Stuttgart 25. Sept - 12. Okt 2014 Ausstellung „Günter Grass: Radierungen zu seinem Leitung: Ralph Kulling Alte Darre Roman ‚Hundejahre‘“ Moderation: Dr. Eduard Strauss & Thomas Strauss 13. November 2014 Podium junger Künstler: 20.00 Uhr Sieger Mozart Wettbewerb Solistin: Sopran St. Augstin Gudrun Ingimars 13. Dezember 2014 Konzert mit salzburgisch-fränkischen Weihnachts- Heiligkreuzkirche und Adventsliedern Werke unter anderem von Johann Strauss, Richard Wagner, Rudolph Bullerjahn, Eduard Strauss, Franz Lehár und Josef Strauss. Montag, 06.01.2014, 11.00 Uhr Veranstalter Stadt Coburg – Kulturabteilung Kongresshaus Rosengarten Oberer Bürglaß 1 96450 Coburg www.coburg.de/kultur Das Bild zeigt das Alt-Wiener Strauss-Ensemble Stuttgart. Programm Die Solistin Dauer ca. 2 Stunden (inkl. 20 Min. Pause) Gudrun Ingimars Johann Strauss Sohn "Cagliostro in Wien" Die isländische Sopranistin Gudrun Ingimars begann 1825-1899 Ouvertüre zur Operette ihre Gesangsausbildung an der Akademie für Gesang Richard Wagner Polka in Reykjavik. 1813-1883 (G-Dur) WWV 84 (zum Ende des Wagner-Jahres) Sie setzte ihre Ausbildung in London bei Vera Rozsa sowie am Mayer-Lismann Opera Center fort. An der Richard Wagner Züricher Vielliebchen-Walzer Musikhochschule Stuttgart studierte sie in der 1813-1883 (Es-Dur) WWV 88 Meisterklasse von Frau Prof. Sylvia Geszty und an der dortigen Opernschule. Johann Strauss Sohn Csárdás der Rosalinde (Sopran) Meisterkurse besuchte sie u.a. bei Elly Ameling, Robin Bowmann, Sigfried Lorenz und 1825-1899 aus der Operette „Die Fledermaus“ Janet Perry. Johann Strauss Sohn Éljen a Magyar 1825-1899 Polka schnell, op. 332 Sie wirkte in vielen Opernproduktionen in Großbritannien, der Schweiz, Deutschland und Island mit. Ihr Rollenrepertoire umfasst u.a. Partien wie die Königin der Nacht in Rudolph Bullerjahn „Etwas für die Aelteste“ der “Zauberflöte“, das Blondchen in der „Entführung aus dem Serail“, die Despina in 1856-1911 Concert-Polka, op. 53 für Kontrabaß und Orchester „Cosi fan tutte“, die Gretel in „Hänsel und Gretel“, die Adele in „Die Fledermaus“, die Johann Strauss Vater Jugendfeuer Kurfürstin in „Der Vogelhändler“ und die Romilda in „Xerxes“. 1804-1849 Galopp, op. 90 Johann Strauss Sohn „Frühlingsstimmen“ (Sopran) Gudrun Ingimars ist darüber hinaus eine gefragte Konzertsängerin und ihre Auftritte 1825 – 1899 Walzer, op. 410, Gesangsfassung führten sie in viele Länder Europas. (Text Richard Genée) Neben zahlreichen Oratorien sang sie das „Exultate Jubilate“ in mehreren Konzerten Pause in Italien und Deutschland, die „Carmina Burana“ in mehreren Konzerten in Deutschland, Spanien und der Türkei sowie Faurés „Requiem“ in England, der Eduard Strauss Ballpromessen Schweiz, Portugal und Deutschland. 1835 – 1916 Walzer, op. 82 Johann Strauss Sohn “Grüß dich Gott, du liebes Nesterl“ (Sopran) Sie gastierte bei vielen internationalen Musikfestivals und hatte zahlreiche Auftritte 1825 – 1899 Auftrittslied der Gräfin aus der Operette im Radio und Fernsehen. „Wiener Blut“ Josef Strauss Schwarzenberg-Monument-Marsch Weitere Engagements führten sie an die Bayerische Staatsoper München, die 1827 – 1870 op. 210 Württembergische Staatsoper Stuttgart und das Markgräfliche Opernhaus Bayreuth. Die Operettenliteratur bildet einen weiteren Bereich in ihrem Repertoire. Sie ist Johann Strauss Sohn Dolci Pianti in über 60 Neujahrskonzerten in Deutschland, Island und Österreich aufgetreten. 1825-1899 Cello-Romanze Nr. 2 G-Dur, op. 255 (283) Gastverträge verbinden die Künstlerin u.a. mit dem Johann-Strauss-Orchester Franz Lehár „Hör‘ ich Zimbal-Klänge“ (Sopran) Wiesbaden und dem Alt-Wiener Strauss Ensemble Stuttgart. 1870-1948 Lied und Csardas aus der Operette „Zigeunerliebe“ Die Preisträgerin des Internationalen Erika Köth Wettbewerb wurde sowohl Johann Strauss Sohn Wein, Weib und Gesang vom Isländischen Verein zur Förderung von jungen Sängern als auch vom 1825-1899 Walzer, op. 333 Kulturministerium ausgezeichnet. ggf. Zugaben Sämtliche Arrangements: Arthur Kulling, Änderungen vorbehalten Verlag: M&V - Verlag Ralph Kulling, Stuttgart, Germany.
Load more

Recommended publications
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • The Best of Operetta Vol. 1
    The Best of Operetta Vol. 1 Der Zigeunerbaron P'he Gypsy Baron) Das Land des Lachelns :The Land of Smiles) Die lustige Witwe me Merry Widow) and others The Best of Operetta Vol. 1 Operetta developed in the second half of the nineteenth century from very similar antecedents, the opQa comique of France and the more light-hearted Singspiel of German-speaking countries. In Paris Offenbach, son of a Cologne synagogue cantor, established himself with his series of operas bouffes and it was initally with performances of these in Vienna that the genre took root there, inspiring work by Supp6 and, at the earlier suggestion of Offenbach himself, Johann Strauss. Viennese operetta was inessence coterminouswith theHabsburg Empire. After 1918 Berlin assumed the position once held by Vienna in operetta, and as popular musical tastes diverged more and more with the passing of time, the genre became something of the past, displaced by the commercial produrk of Broadway and its imitators. The first volume of The Best of Operetta includes excerpts from operettas by Joham Strauss, Franz LeMr and Imre Mlmh. Strauss himself had followed his father's example, in spite of the latter's expressed desire, establishing his own dance-orchestra and later recruitinghistwo younger brothers, Josef and Eduard, into the family enterprise. The Strauss reputation extended far beyond the confines of Vienna and Straws orchestras appeared in different cities of Europe, providing an entertainment that suited very well the spirit of the time. Johann Strauss first turnedhisattention to operetta partly at the suggestionofOffenbach and more immediately at the urging of his first wife, the singer Henriette Chaputzky.
    [Show full text]
  • Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2019 Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide Jennifer Bruton University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Bruton, Jennifer, "Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide" (2019). Dissertations. 1727. https://aquila.usm.edu/dissertations/1727 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. JOHANN STRAUSS II’S DIE FLEDERMAUS: HISTORICAL BACKGROUND AND CONDUCTOR’S GUIDE by Jennifer Jill Bruton A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Jay Dean, Committee Chair Dr. Joseph Brumbeloe Dr. Gregory Fuller Dr. Christopher Goertzen Dr. Michael A. Miles ____________________ ____________________ ____________________ Dr. Jay Dean Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2019 COPYRIGHT BY Jennifer Jill Bruton 2019 Published by the Graduate School ABSTRACT Students pursuing graduate degrees in conducting often have aspirations of being high school or college choir or band directors. Others want to lead orchestra programs in educational or professional settings. Sadly, many colleges and universities do not have systems in place that provide avenues for those choosing this career path.
    [Show full text]
  • Die Fledermaus History
    Johann Strauss’ Die Fledermaus HISTORY Premiere April 5, 1874 at the Theater an der Wien, Vienna, with the following cast: Alfred, Hr. Rüdinger; Adele, Esther Charles-Hirsch; Rosalinde, Marie Geistinger; Gabriel von Eisenstein, Jani Szika; Dr. Falke, Ferdinand Lebrecht; Frank, Karl Adolf Friese; Prince Orlofsky, Irma Nittinger. North American Premiere November 21, 1874, in New York at the Stadt Theater Last Performed by Washington National Opera September, 2003 in DAR Constitution Hall, featuring Heinz Fricke conducting and Lotfi Mansouri directing with the following cast: Alfred, Jesús Garcia; Adele, Maki Mori; Rosalinde, June Anderson; Gabriel von Eisenstein, Wolfgang Brendel; Dr. Blind, Robert Baker; Dr. Falke, Peter Edelmann; Frank, John Del Carlo; Prince Orlofsky, Elena Obraztsova; Ida, Tammy Roberts; Frosch, Jason Graae; Solo Dancers, Lisa Gillespie and Harlan Bengel. Johann Strauss’ Operas and Operettas Die Lustigen Weiber von Wien (never produced) Indigo und die Vier Ruber, February 10, 1871; Theater-an-der-Wien Der Karneval in Rom, March 1, 1873; Theater-an-der-Wien Die Fledermaus, April 5, 1874; Theater-an-der-Wien Cagliostro in Wien, February 27, 1875; Theater-an-der-Wien Prinz Methusalem, January 3, 1877; Carl Theater Blinde Kuh, December 18, 1878; Theater-an-der-Wien Das Spitzentuch der Königin, October 1, 1880; Theater-an-der-Wien Der Lustige Krieg, November 25, 1881; Theater-an-der-Wien Eine Nacht in Venedig , October 3, 1883; Freidrich-Wilhalmstrasse Theater, Berlin Der Zigeunerbaron, October 24, 1885; Theater-an-der-Wien Simplizius, December 17, 1887, Theater-an-der-Wien Ritter Pasman, January 10, 1893; Hofoperntheater, Wein Fürstin Ninetta, January 10, 1893; Theater-an-der-Wien Waldmeister, December 4, 1895; Theater-an-der-Wien Washington National Opera www.dc-opera.org 202.295.2400 · 800.US.OPERA .
    [Show full text]
  • 6 X 10 Long.P65
    Cambridge University Press 0521027578 - Johann Strauss and Vienna: Operetta and the Politics of Popular Culture Camille Crittenden Index More information INDEX Academic Wagner Society, 210, 211, 212 Fidelio, 41, 54, 62 Adam, Adolphe, 12 Symphony No. 2 in D Major, Op. 36, Adler, Guido, 257 62 Adler, Victor, 229 Symphony No. 3 in E-flat Major, Op. Adorno, Theodor, 98 55, 62 Alt und Neu Wien, 68 Symphony No. 5 in C Minor, Op. 67, American Biograph, Der, 25 62 Amleto, Principe di Danimarco, 69 Symphony No. 6 in F Major, Op. 68, Andrássy, Gyula, 93, 180–81 62 Angot an der Donau, 69 Symphony No. 9 in D Minor, Op. 125, Anschluß, 104, 106 206–07 anti-Semitism, 6, 66, 94, 98, 99–105, 143, Bellini, Vincenzo, 50 183–86, 215 Benedix, Roderich, 134 Jewish caricatures, 14, 100, 143 Das Gefängnis, 134 Anzengruber, Ludwig, 9, 15, 16–17, 54, Berg, Alban, 3 66, 163 Berg, O. F., 16 Der G’wissenswurm, 17, 71, 122 Berlin, 28–29, 79, 81, 85, 95–96, 99, 195, Der Meineidbauer, 17, 71 255, 273n.58 Der Pfarrer von Kirchfeld, 17, 71, 79, Bernhardt, Sarah, 8, 64, 69, 100, 102 298n.70 Beust, Ferdinand, 30 Das vierte Gebot, 17, 291n.54 Biedermeier period, 7, 22 Ascher, Anton, 12, 67 Billroth, Theodor, 167 Auber, Daniel François Esprit, 67 Binder, Karl, 11, 16, 220 La Muette de Portici, 67 Birch-Pfeiffer, Charlotte, 68 Ausgleich, 170–71, 206 Pfeffer-Rösel, 68 Bismarck, Otto von, 30 Bad Ischl, 54, 83 Bizet, Georges, 176 Bahr, Hermann, 28, 212, 229 Carmen, 176, 188 Das Tschaperl, 76 Blaha, Lujza, 29 Bakhtin, Mikhail, 162 Blasel, Karl, 69 Balog, Jancsi Sági, 149 Blumenthal,
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 2 of 2 Heinrich Schenker and the Radio by Kirstie Hewlett Thesis for the degree of Doctor of Philosophy December 2014 1 1 Appendices 1 1 Contents Appendix 1: References to Radio Broadcasts.............................................................. 1 1924 ........................................................................................................................................................................ 3 1925 ......................................................................................................................................................................11 1926 ......................................................................................................................................................................53
    [Show full text]
  • Performing Masculinity in Johann Strauss's Die
    PERFORMING MASCULINITY IN JOHANN STRAUSS’S DIE FLEDERMAUS BY CORRINA JULIET CONNOR A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music | Te Kōkī Victoria University of Wellington Te Whare Wānanga o te Ūpoko o te Ika a Māui 2019 Table of Contents Table of Contents ..................................................................................................................... 1 Table of Musical Examples ..................................................................................................... 2 Table of Figures ....................................................................................................................... 3 Abstract .................................................................................................................................... 4 Acknowledgements .................................................................................................................. 6 Introduction. ............................................................................................................................ 7 Chapter 1: Masculinity and the performance of honour in Die Fledermaus. .................. 39 Chapter 2: Orlofski’s Russian and Viennese masculinities. .............................................. 60 Chapter 3: Orlofski as a travesti role. ................................................................................ 100 Chapter 4: Die Fledermaus in a different context: London
    [Show full text]
  • Overture to Der Zigeunerbaron (The Gypsy Baron) Johann Strauss II
    Viennese Favorites Johann Strauss II and Josef Strauss ohann Strauss II first made his mark as an tive repertoire even outside German-speak - J orchestra leader at the age of 19, and he ing lands. The three-act operetta Der quickly emerged as a rival to his more estab - Zigeunerbaron sports a complicated plot that lished father, Johann Strauss, Sr. Initial un - involves the love affair of a Hungarian lad and easiness over this situation was overcome, and a Gypsy lass set against a background of in - when the elder Strauss died, in 1848, the son ternational intrigue. The Overture to Der merged his late father’s orchestra into his own. Zigeunerbaron is infused with an exotic fla - From 1863 to 1871 he served as director of vor, employing evocative rhythms, unusual Viennese court balls, just as his father had, and harmonic references, and colorful touches of when he relinquished the position he merely orchestration — including jingling spurs — to handed the reins off to his brother Eduard. summon up the Hungarian-Danube world in This set of his works — and one by his brother which the action unrolls. But this being Jo - Josef — evoke the sophisticated frivolity of hann Strauss II the music cannot resist touch - those events. ing down on an ingratiating waltz before In addition to the almost 500 pieces of galloping off in its high-stepping conclusion. dance music he published, Johann Strauss II scored important successes as a composer of The second child of the family, Josef Strauss operetta and light opera. Die Fledermaus has disappointed his father by not entering the proved the most enduring, but Der Zigeuner - military.
    [Show full text]
  • DIE FLEDERMAUS NASHVILLE OPERA Presented By
    2015-16 SEASON for YOUNG PEOPLE Teacher Guidebook Photo by Marianne Leach Marianne by Photo DIE FLEDERMAUS NASHVILLE OPERA presented by Sponsored by From our Season Sponsor For over 130 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production without this program. Regions continues to reinforce its commitment to the communities it serves and in addition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. , for giving your students this wonderful opportunity. They will certainly enjoy Thankthe experience. you, Youteachers are creating memories of a lifetime, and Regions is proud to be able to help make this opportunity possible. ExecutiveJim Schmitz Vice President, Area Executive Middle Tennessee Area 2015-16 SEASON for YOUNG PEOPLE CONTENTS Dear Teachers~ Opera rehearsal We are so pleased information page 2 to be able to partner with Nashville Opera Opera 101 page 3 to bring students to the Short Explorations page 4 invited dress rehearsal Cast list and of Die Fledermaus. Opera Information NOG-1 We thank Nashville The Story Opera for the use History of Operetta NOG-2 of their extensive study guide for adults.
    [Show full text]
  • Guthrie Catalog 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
    Guthrie_Catalog A B C D E F H I Fir 1 Composer stI Title Key . Arranged Catalog # 2 3 Aaron AE Selections from My Antoinette 1 4 Abt F When The Swallows Fly Arr: M. White, Vocal Included 0003- 5 Accolay J. Violin Concerto No. 1 Arr: R. Klotman 0006- 6 Achron Hebrew Melody Arr. Langey 0005- Based on Mozart's Lesson Scene from 7 Adam/Schmidt Bravour Variationen Barber Of Seville 0009- 8 Adams The Holy City Arr: Raph 0010- The Holy City and The King of Love 9 Adams S My Shepherd Is (Guonod) Arr; Moses-Tobani 0015- 10 Addinsell R Warsaw Concerto Strings only 0020- 11 Akst H "Am I Blue?" 0021- 12 Albeniz I Cadiiz (Saeta) Arr: H. Sanford 0022.005. 13 Albeniz I A Night in Seville Arr: W. E. Loud 0022.007. 14 Albeniz I Nochecita (Twilight) Arr: A. Schmid 0022.009. 15 Albeniz I Suite Espagnole Revised: J. Salbert for piano 0022.011. Tango in D for violin, piano and cello 16 Albeniz I trio arr. Rissland 0022.010. 17 Albers F Only A Year Ago Arr: J.S. Zamecnik 00221- 18 Albini F Baron Trenck Selections Arr: J.R. Lampe 00222- 19 Albinoni T Adagio in Sol Minore 0023.005. 20 Albinoni T Oboe and Orch. Concerto Op. 7/3 0023.010. 21 Albinoni T Oboe and Orch. Concerto Op.7/6 0023.015. 22 Alcala N The Magi's Journey Commissioned for SBs--Dec., 2018 00231- 23 Alfonso B Sevilla Paso Doble 0024- 24 Alford KJ Colonel Bogey March 0025- 25 Alfven H Swedish Rhapsody No.
    [Show full text]
  • Johann Strauss Die Fledermaus
    1 Johann Strauss Die Fledermaus Operette in drei Akten Uraufführung am 5. April 1874 Theater an der Wien Libretto: Karl Haffner, Richard Genée Medien in der Musikbücherei am Wilhelmspalais Zusammengestellt von Gertraud Voss-Krueger 2 Notenausgaben/Tonträger/Sekundärliteratur Partitur: Strauss, Johann: Die Fledermaus : komische Operette in 3 Akten nach Meilhac und Halévy's "Reveillon" = The bat. - Studienpartitur - London [u.a.] : Eulenburg, 1968. - 704 S. Text deutsch und englisch SY: T21 Str Die Fledermaus : Operetta ; op. 362 = The bat / Johann Strauss. Libretto by Carl Haffner and Richard Génee...Engl. version by Christopher Hassall. Ed. by Hans Swarowsky. - Studienpartitur - London [u.a.] : Eulenburg, 2010. - XXXVII, 704 S. c 1959, 1968. - Text deutsch und englisch. SY: T21 Str Klavierauszug: Strauss, Johann: Die Fledermaus : komische Operette in drei Akten ; Originalfassung. Text von Carl Haffner u. Richard Genée. - Urtext, Klavierausz. nach d. Quellen von Joachim Freyer, [Neuaufl.] - Frankfurt (Main) [u.a.] : Peters, 1993. - 270 S. : Faks. ; 27 cm c 1983 ISMN M-014-07855-3 SY: U111 Str Strauss, Johann: Die Fledermaus : Operette in drei Akten nach Meilhac und Halévy = The bat. - Klavierauszug mit Text - Wiesbaden : Cranz, 2000. - 196 S. Text deutsch und englisch SY: U111 Str Strauss, Johann: Die Fledermaus = The bat. - Klavierauszug - Budapest : Könemann, 1994. - 168 S. SY: U111 Str CD: Gesamtaufnahmen: Strauss, Johann Die Fledermaus : Operette in 3 Akten. Interpr.: Edita Gruberova [Rosalinde]. Barbara Bonney [Adele]. Werner Hollweg [Eienstein]. Josef Protschka [Alfred]. Christian Boesch [Frank]. Anton Scharinger [Dr. Falke]. Marjana Lipovsek [Prinz Orlofsky]. Waldemar Kmentt . - Hamburg : Teldec, 1988. - 2 CD in Box mit Schuber + Beih. (mit dt., engl., und frz. Libretto) Urh: Nederlandse Opera <Amsterdam> / Koor; Concertgebouworkest <Amsterdam> SY: TD6-0 Str 3 Strauss, Johann: Die Fledermaus / Kleiber, Carlos.
    [Show full text]
  • Manfred Honeck Wiener Symphoniker Johann Strauss Ii (1825–1899) Josef Strauss (1827–1870) Eduard Strauss (1835–1916)
    JOHANN STRAUSS MANFRED HONECK WIENER SYMPHONIKER JOHANN STRAUSS II (1825–1899) JOSEF STRAUSS (1827–1870) EDUARD STRAUSS (1835–1916) Manfred Honeck © Felix Broede Johann Strauss II 1 Ouvertüre zur Operette „Der Zigeunerbaron“ 07:49 Josef Strauss 2 „Die Libelle“, Polka mazur op. 204 05:11 Johann Strauss II 3 „Furioso“, Polka quasi Galopp op. 260 02:15 Eduard Strauss 4 „Die Biene“, Polka française op. 54 03:53 Josef Strauss 5 „Dorfschwalben aus Österreich“, Walzer op. 164 08:27 Johann Strauss II 6 „Im Krapfenwaldl“, Polka française op. 336 04:03 7 „Auf der Jagd“, Polka schnell op. 373 02:03 8 „Rosen aus dem Süden“, Walzer op. 388 08:20 9 „Tritsch-Tratsch“, Polka schnell op. 214 02:27 Josef Strauss 10 „Feuerfest!“, Polka française op. 269 03:07 Johann Strauss II 11 „Frühlingsstimmen“, Walzer op. 410 07:01 12 „Unter Donner und Blitz“, Polka schnell op. 324 02:50 Total Playing Time 57:35 WIENER SYMPHONIKER MANFRED HONECK conductor Eduard, Johann II and Josef Strauss MANFRED HONECK, WIENER SYMPHONIKER –4– JOHANN STRAUSS The Music of Johann Strauss II and his brothers The Viennese Waltz, the oldest of the ballroom society dances, emerged from the „Ger- man Dance“ and – possibly – also from the „Landler“ during the second half of the 18th century. It came to fame in the course of the French Revolution (1789) when it incre- asingly superseded the aristocratic Minuet. It finally became the predominant society dance at the time of the Viennese Congress (1814/15) and allegedly prompted Prince Charles Joseph de Ligne’s statement „The congress dances, but does not advance“.
    [Show full text]