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Austria As a 'Baroque Nation'. Institutional and Media Constructions
Austria as a ‘Baroque Nation’. Institutional and media constructions Andreas Nierhaus Paris, 1900 When Alfred Picard, General Commissioner of the World Exhibition in Paris 1900, declared that the national pavilions of the ‘Rue des Nations’ along the river Seine should be erected in each country’s ‘style notoire’, the idea of characterizing a ‘nation’ through the use of a specific historical architectural or artistic style had become a monumental global axiom. Italy was represented by a paraphrase of St. Mark’s Cathedral in Venice, Spain chose the look of the Renaissance Alcazar, the United States selected a triumphant beaux-arts architecture, Germany moved into a castle-like building – in the style of the "German Renaissance", of course – and the United Kingdom built a Tudor country house. However, there were considerable doubts about the seriousness and soundness of such a masquerade: ‘Anyone wanting to study national styles at the Quai d' Orsay would fail to come to any appreciable results – just as the archaeologist who wants to collect material for costume design in a mask wardrobe [would equally fail]. Apart from few exceptions, what we find is prettily arranged festive theatrical decoration (...).’1 Whereas the defenders of modernism must have regarded this juxtaposition of styles as symbolic of an eclecticism that had become almost meaningless, both the organizers and the general public seemed very comfortable with the resulting historical spectacle. It was no coincidence that the Austrian Pavilion was given the form of a Baroque castle. (Fig. 1) Its architect Ludwig Baumann assembled meaningful quotes from the buildings of Johann Bernhard and Joseph Emanuel Fischer von Erlach, Lucas von Hildebrandt and Jean Nicolas Jadot in order to combine them into a new neo-Baroque whole. -
178 Chapter 6 the Closing of the Kroll: Weimar
Chapter 6 The Closing of the Kroll: Weimar Culture and the Depression The last chapter discussed the Kroll Opera's success, particularly in the 1930-31 season, in fulfilling its mission as a Volksoper. While the opera was consolidating its aesthetic identity, a dire economic situation dictated the closing of opera houses and theaters all over Germany. The perennial question of whether Berlin could afford to maintain three opera houses on a regular basis was again in the air. The Kroll fell victim to the state's desire to save money. While the closing was not a logical choice, it did have economic grounds. This chapter will explore the circumstances of the opera's demise and challenge the myth that it was a victim of the political right. The last chapter pointed out that the response of right-wing critics to the Kroll was multifaceted. Accusations of "cultural Bolshevism" often alternated with serious appraisal of the strengths and weaknesses of any given production. The right took issue with the Kroll's claim to represent the nation - hence, when the opera tackled works by Wagner and Beethoven, these efforts were more harshly criticized because they were perceived as irreverent. The scorn of the right for the Kroll's efforts was far less evident when it did not attempt to tackle works crucial to the German cultural heritage. Nonetheless, political opposition did exist, and it was sometimes expressed in extremely crude forms. The 1930 "Funeral Song of the Berlin Kroll Opera", printed in the Neue Zeitschrift für Musik, may serve as a case in point. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
Symphony Blue Danube
Bucknell University Alumni Association Symphony on the Blue Danube Prague Passau Melk Dürnstein Vienna Bratislava Budapest aboard the Exclusively Chartered Amadeus Queen September 16 to 25, 2019 Dear Bucknellian: Goethe once said, “Music is liquid architecture, [and] architecture is frozen music.” The Danube River and the resplendent cities of Prague and Vienna, which inspired classical music’s Great Masters, are a visual symphony of landscape and architecture— rolling hillsides and terraced vineyards are in concert with medieval cities and stone castles—inspiring centuries of artists and resonating with travelers. Join us for this comprehensive itinerary showcasing five countries in the heartland of central Europe. Our specially created itinerary features private performances from the musical heritage of Europe’s most accomplished composers, including Mozart and Beethoven; and opportunities to explore six UNESCO World Heritage sites, experience the rich history and dynamic legacies that contextualize the West’s art and architectural masterpieces. Enjoy three nights in the world‑class city of Prague, the “City of a Thousand Spires,” in a deluxe, centrally located hotel before cruising the celebrated Blue Danube from Passau, Germany, to Budapest, Hungary. Travel aboard the exclusively chartered Amadeus Queen—a deluxe river ship launched in 2018 that docks right in the heart of the cities we visit. High notes of your experience include a distinctive schedule of exclusive, specially arranged expert lectures, private classical music performances, guided excursions in Prague and in each port of call along the Danube River, and an overnight stay in the fin‑de‑siècle grandeur of Vienna, Austria’s extraordinary capital. This Symphony on the Blue Danube is a sublime composition that will strike a chord with virtuosos, art and architecture enthusiasts, historians and travelers of all interests. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion January 7 – January 31, 2016 Hosted by Dr. Scott Johnson, Jayna Gearhart Fitzsimmons and Brad Heegel Program Inclusions v Experience the musical enrichment and fellowship traveling as part of a community under the leadership of Dr. Scott Johnson, Co-Chair of the College Department of Music who is both an accomplished musician and mentor; Jayna Gearhart Fitzsimmons, artistic director and experienced director of theater and Brad Heegel, Administrative Director of Performing and Visual Arts at Augustana who is both a seasoned traveler and energetic lead organizer for this program. v Be inspired by the culture and art of the Czech Republic with Prague’s royal palaces and museums; the beauty and music of Austria with the Vienna Boys Choir and Opera Houses; the grace and history of Slovakia with it’s amazing Slovak National Theatre; the vibrancy and heritage of Hungary in Budapest with collections of Art Nouveau and gypsy music; and lastly the history and open arms of Croatia in the town of Zagreb. v Attend eight concerts/performances and visit over forty famous sights and theatres in Europe. v Travel from Sioux Falls with connecting service into Prague and from Zagreb via United Airlines, Lufthansa Airlines and Croatian Airlines. v Stay for twenty-three nights in select Moderate First Class hotels described in the itinerary or similar, based on sharing a room. v Journey throughout Europe by private, deluxe motorcoach for all transfers and touring or by 2nd class rail. v Enjoy included daily buffet breakfast and six dinners. -
Austria & Hungary
AUSTRIA & HUNGARY June 17 -23 2018 A UNIQUE PERSPECTIVE OF THE MUSICAL, CULTURAL AND HISTORICAL HERITAGE OF VIENNA AND BUDAPEST Most of us have been to Austria and Hungary of course. But this Jaderin tour to Vienna, Eisenstadt, Graz, Salzburg and Budapest will be one with a big difference. We will be led by Maestro Mak Ka Lok who had studied, lived and actively conducted all over Austria, Russia and other parts of Europe for 30 years. The Maestro will be returning to Vienna in June with the Global Symphony Orchestra of Hong Kong, to receive the prestigious Austria Music and Theatre award for his contribution in music between Austria and China/Hong Kong. He will share his passion for music and the places he called home for many years on this special Jaderin tour covering Vienna : The beautiful capital of Austria that inspired so many composers. The visit includes the most celebrated river in Europe, Danube River,” the Wachau”, the Schönbrunn Palace where Mozart performed when he was a child. Enjoy an opera at the Vienna State Opera House Salzburg : In visiting the birthplace of Mozart, we will pass by the beautiful lake region “Salzkammergut” Eisenstadt : Pay homage to Haydn Graz: Attend Maestro’s Mak’s special “Austrian Music Theater Award” ceremony at the Opera House in Graz Budapest : Vienna and Budapest were the capitals of the Austrian Hungarian Empire from 1867 to 1918. Not only will you visit the Hungarian capital’s modern and historical sites, you will also ‘feel’ the flavors of Hungary, and taste authentic Hungarian Goulash. -
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe. -
Betriebszelle) State Opera to the Managing Comittee (Vereinsführung
Oliver Rathkolb From the Organization Cell Group (Betriebszelle) State Opera to the Managing Comittee (Vereinsführung) To this day, there has been no successful assessment of the exact percentage of "Nazification" of the Vienna Philharmonic Orchestra. Clemens Hellsberg has in 1992 addressed the fact that at the end of the war 42% were NSDAP-members, and he also pointed out that this rate rises to 47% if affiliated organisations are included.1 He has further calculated the "group differences" of the formal Nazification at the time of 1938 – and found differences between string players with 30% NSDAP members, woodwind players with 45%, as well as brass players and percussion with 43%. I myself, on the basis of Austrian and US- American documents, arrived in 1991 at a rate of 40% former NSDAP-members in the orchestra – about 20% of these were "illegal" members2, i.e. those who during the prohibition of the NSDAP between "July 1, 1933 and March 13, 1938, after attaining the age of 18, have at one point belonged to the NSDAP or one of its paramilitary forces (Wehrverbände, SA, SS, NSKK, NSFK)" – so the wording in §10 of the Prohibitive Law (Verbotsgesetz) of May 8, 1945. The core group of NSDAP sympathisers in the Vienna Philharmonic Orchestra had in 1931/32 already organized themselves in the framework of the NSBO – the NS Organization Cell Group State Opera. The NSBO did not do the classic work of a labour union, but rather as a political organisation caused agitation for the NSDAP in the labour force of an enterprise. -
Universalmuseum Joanneum Press Line, Light and Shadow Master
Universalmuseum Joanneum Press Universalmuseum Joanneum [email protected] Mariahilferstraße 4, 8020 Graz, Austria Telephone +43-316/8017-9211 www.museum-joanneum.at Line, Light and Shadow Master Drawings of the Baroque Alte Galerie, Eggenberger Allee 90, 8020 Graz Opening: 30.04.2013, 7 p.m. Duration: 01.05.-28.07.2013 Curators: Karin Leitner-Ruhe and Christine Rabensteiner, Alte Galerie, Universalmuseum Joanneum; Regina Kaltenbrunner, Rossacher Collection in the Salzburg Museum Information: +43-316/8017-9773, [email protected] In cooperation with Rossacher Collection in the Salzburg Museum In collaboration with the Rossacher Collection in the Salzburg Museum – which in autumn 2011 as the former Salzburger Barockmuseum had exhibited the Rembrandt etchings of the Alte Galerie – the Alte Galerie is showing a selection of works of Austrian and South German Baroque artists in its special exhibition, Line, Light and Shadow. Master Drawings of the Baroque, from May 1st, 2013 onwards. Besides its main focus on painted oil sketches, the Rossacher Collection includes a bundle of works drawn on paper. The Kupferstichkabinett of the Alte Galerie houses more than 400 freehand drawings. This exhibition comprises carefully selected works from both collections. With a few exceptions, the Baroque hand drawing should not be seen an artwork in its own right. It was primarily a form of preparation and design for another artistic medium. Accordingly, the exhibition is divided by areas of design – for altars, for ceiling and wall paintings, as well as for altar pieces and copper engravings. The works are often striking as individual works in their vivid, spontaneous and modern-seeming strokes. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
2020 Optional Shore Excursions
2020 Optional Shore Excursions Classical Danube Budapest – Passau With our carefully crafted itineraries and land excursions, you can immerse yourself in the world of Europe’s major cities, small villages and landscapes and get to know the art, culture and people of these countries. On this cruise, we offer you tailored made and carefully composed excursion packages. All our excursions can of course also be booked individually at regular rates. EXCURSION INFORMATION Some excursions involve a fair amount of walking, sometimes over uneven surfaces. The following coding system has been used to assist with identifying which excursions are appropriate for you. Please ask your cruise director for additional information as required. LEVEL 1: Minimum walking; excursion by bus with short photo stops LEVEL 2: The excursion by bus is followed by a moderate walking tour. You may need to climb some stairs. LEVEL 3: The excursion by bus is followed by a longer walk. You may need to climb several stairs. LEVEL 4: Moderate walking tour. You may need to climb some stairs. LEVEL 5: Considerable walk with longer distances. This may include uneven surfaces and some stairs. CITY TOUR OF BUDAPEST Budapest, the “Queen of the Danube”, is one of the most beautiful cities in the world and has managed to retain a charm of its own with the help of renovations in recent years. The Danube flows through the heart of the city, dividing it into two parts: Buda and Pest. The tour first takes you through Pest, past the Great Market Hall with its outstanding gourmet shops and stalls.