Famous Composer Richard Wagner in Bayreuth
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05-11-2019 Gotter Eve.Indd
Synopsis Prologue Mythical times. At night in the mountains, the three Norns, daughters of Erda, weave the rope of destiny. They tell how Wotan ordered the World Ash Tree, from which his spear was once cut, to be felled and its wood piled around Valhalla. The burning of the pyre will mark the end of the old order. Suddenly, the rope breaks. Their wisdom ended, the Norns descend into the earth. Dawn breaks on the Valkyries’ rock, and Siegfried and Brünnhilde emerge. Having cast protective spells on Siegfried, Brünnhilde sends him into the world to do heroic deeds. As a pledge of his love, Siegfried gives her the ring that he took from the dragon Fafner, and she offers her horse, Grane, in return. Siegfried sets off on his travels. Act I In the hall of the Gibichungs on the banks of the Rhine, Hagen advises his half- siblings, Gunther and Gutrune, to strengthen their rule through marriage. He suggests Brünnhilde as Gunther’s bride and Siegfried as Gutrune’s husband. Since only the strongest hero can pass through the fire on Brünnhilde’s rock, Hagen proposes a plan: A potion will make Siegfried forget Brünnhilde and fall in love with Gutrune. To win her, he will claim Brünnhilde for Gunther. When Siegfried’s horn is heard from the river, Hagen calls him ashore. Gutrune offers him the potion. Siegfried drinks and immediately confesses his love for her.Ð When Gunther describes the perils of winning his chosen bride, Siegfried offers to use the Tarnhelm to transform himself into Gunther. -
Música Y Pasión De Cosima Liszt Y Richard Wagner
A6 [email protected] VIDA SOCIAL JUEVES 14 DE MAYO DE 2020 Música y pasión de Cosima Liszt y Richard Wagner GRACIELA ALMENDRAS Fundado en 1876, l Festival de Bayreuth, que cada año se el festival realiza en julio, no solo hace noticia por su también E obligada cancelación a causa de la pande- suspendió mia, sino que también porque es primera vez en sus funcio- sus más de 140 años de historia que un Wagner nes durante no encabeza su organización. Ocurre que la bisnie- las grandes ta de Richard Wagner, el compositor alemán guerras. En precursor de este festival, está enferma y abando- julio iba a nó su cargo por un tiempo indefinido. celebrar su La historia de este evento data de 1870, cuando 109ª edi- Richard Wagner con su mujer, Cosima Liszt, visita- ción. En la ron la ciudad alemana de Bayreuth y consideraron foto, el que debía construirse un teatro más amplio, capaz teatro. de albergar los montajes y grandes orquestas que requerían las óperas de su autoría. Con el apoyo financiero principalmente de Luis II de Baviera, consiguieron abrir el teatro y su festival en 1876. Entonces, la relación entre Richard Wagner y FESTIVAL DE BAYREUTH su esposa, Cosima, seguía siendo mal vista: ella era 24 años menor que él e hija de uno de sus amigos, y habían comenzado una relación estando ambos casados. Pero a ellos eso poco les importó y juntos crearon un imperio en torno a la música. Cosima Liszt y Richard Wagner. En 1857, Cosima se casó con el pianista y Cosima Liszt (en la director de foto) nació en orquesta Bellagio, Italia, en alemán Hans 1837, hija de la con- von Bülow desa francoalemana (arriba), Marie d’Agoult y de alumno de su su amante, el conno- padre y amigo tado compositor de Wagner. -
The Ring Sample Lesson Plan: Wagner and Women **Please Note That This Lesson Works Best Post-Show
The Ring Sample Lesson Plan: Wagner and Women **Please note that this lesson works best post-show Educator should choose which female character to focus on based on the opera(s) the group has attended. See below for the list of female characters in each opera: Das Rheingold: Fricka, Erda, Freia Die Walküre: Brunhilde, Sieglinde, Fricka Siegfried: Brunhilde, Erda Götterdämmerung: Brunhilde, Gutrune GRADE LEVELS 6-12 TIMING 1-2 periods PRIOR KNOWLEDGE Educator should be somewhat familiar with the female characters of the Ring AIM OF LESSON Compare and contrast the actual women in Wagner’s life to the female characters he created in the Ring OBJECTIVES To explore the female characters in the Ring by studying Wagner’s relationship with the women in his life CURRICULAR Language Arts CONNECTIONS History and Social Studies MATERIALS Computer and internet access. Some preliminary resources listed below: Brunhilde in the “Ring”: (https://en.wikipedia.org/wiki/Brynhildr#Wagner's_%22Ring%22_cycle) First wife Minna Planer: (https://en.wikipedia.org/wiki/Minna_Planer) o Themes: turbulence, infidelity, frustration Mistress Mathilde Wesendonck: (https://en.wikipedia.org/wiki/Mathilde_Wesendonck) o Themes: infatuation, deep romantic attachment that’s doomed, unrequited love Second wife Cosima Wagner: (https://en.wikipedia.org/wiki/Cosima_Wagner) o Themes: devotion to Wagner and his works; Wagner’s muse Wagner’s relationship with his mother: (https://www.thefamouspeople.com/profiles/richard-wagner-392.php) o Theme: mistrust NATIONAL CCSS.ELA-LITERACY.RL.7.9 STANDARDS/ Compare and contrast a fictional portrayal of a time, place, or character and a STATE STANDARDS historical account of the same period as a means of understanding how authors of fiction use or alter history. -
International Richard Wagner Congress – Bonn 23Rd to 27Th September 2020
International Richard Wagner Congress – Bonn 23rd to 27th September 2020 Imprint The Richard Wagner Congress 2020 Richard-Wagner-Verband Bonn e.V. programme Andreas Loesch (Vorsitzender) John Peter (stellv. Vorsitzender) was created in collaboration with Zanderstraße 47, 53177 Bonn Tel. +49-(0)178-8539559 [email protected] Organiser / booking details ARS MUSICA Musik- und Kulturreisen GmbH Bachemer Straße 209, 50935 Köln Tel: +49-(0)221-16 86 53 00 Fax: +49-(0)221-16 86 53 01 [email protected] RICHARD-WAGNER-VERBAND BONN E.V. and is sponsored by Image sources frontpage from left to right, from top to bottom - Richard-Wagner-Verband Bonn - Michael Sondermann/Bundesstadt Bonn - Deutsche Post / Richard-Wagner-Verband Bonn - StadtMuseum Bonn - Michael Sondermann/Bundesstadt Bonn - Beethovenhaus Bonn - Stadt Königswinter - Michael Sondermann/Bundesstadt Bonn - Stadtmuseum Siegburg - Michael Sondermann/Bundesstadt Bonn - Michael Sondermann/Bundesstadt Bonn Current information about the program backpage - Michael Sondermann/Bundesstadt Bonn rwv-bonn.de/kongress-2020 Congress Programme for all Congress days 2 p.m. | Gustav-Stresemann-Institut Dear Members of the Richard Wagner Societies, dear Friends of Richard Wagner’s Music, Conference Hotel Hilton Richard Wagner – en miniature Symposium: »Beethoven, Wagner and the political “Welcome” to the Congress of the International Association of Richard Wagner Societies in 2020, commemorating Ludwig “Der Meister” depicted on stamps movements of their time « (simultaneous translation) van Beethoven’s 250th birthday worldwide. Richard Wagner appreciated him more than any other composer in his life, which Prof. Dr. Dieter Borchmeyer, PD Dr. Ulrike Kienzle, is why the Congress in Bonn, Beethoven’s hometown, is going to centre on “Beethoven and Wagner”. -
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. -
Assenet Inlays Cycle Ring Wagner OE
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela -
The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme. -
Journal Des Richard-Wagner- Verbandes Leipzig
Journal des Richard-Wagner- Verbandes Leipzig Aktuelles aus der Geburtsstadt des Meisters 1 / 2015 die Elbe, der Schatten. So lichtvoll wie nie. als »das Potsdam von Leipzig« bezeichnen. Und bis an die Spree, respektive die Havel. Nein, Wagner schlägt Brücken und Thiele- Wagner verbindet Ein leuchtendes Beispiel. Denn der in Dresden mann bekommt Ende Mai an der Pleiße den als Chefdirigent der Sächsischen Staatskapelle mit 10.000 Euro verbundenen Preis. Damit wirkende und in Potsdam lebende Berliner tritt er die Nachfolge von Ewa Michnik an, die Christian Thielemann erhält in diesem Jahr sich als Intendantin der Oper Wroclaw sowie hristian Thielemann erhält den Richard- den Richard-Wagner-Preis der Leipziger als Dirigentin ebenfalls sehr in den Dienst von CWagner-Preis der Leipziger Richard- Richard-Wagner-Stiftung. Thomas Krakow, Wagners Schaffen gestellt hat. Wagner-Stiftung. Der Berliner Dirigent unermüdlicher Vorsitzender der Stiftung, schlägt quasi eine Brücke zwischen den würdigte Thielemann als »herausragendsten Thielemann, omnipräsenter Wagnerianer beiden sächsischen Musikmetropolen. zeitgenössischen Wagner-Dirigenten«, der in nicht nur auf dem Grünen Hügel in Bayreuth, Und plötzlich geht es mit dem Brückenschla- seiner Person »derzeit das tiefste Verständnis sondern erst jüngst sogar in der Wüstenstadt gen zwischen Leipzig und Dresden ganz und die höchste künstlerische Kompetenz Al Ain (als Erstaufführer des Siegfried-Idyll!) einfach. Völlig frei von Missgunst, Neid und in Sachen Richard Wagner« vereine. »Wir in den Vereinigten Arabischen Emiraten Konkurrenz zwischen bürgerlicher Bewegt- möchten den Entwicklungsweg des Dirigenten – er hat sich diesen Preis redlich verdient. heit und residenzstädtischem Stillstand. zu Richard Wagner und seine nie endende Sowieso mit einer umfangreichen Wagner- Wagner macht‘s möglich! Der war ja auch Durchdringung des Leipziger Komponisten Diskografie sowie dem lesenswerten Buch schon in beiden Städten zugange. -
A Symbol of Global Protec- 7 1 5 4 5 10 10 17 5 4 8 4 7 1 1213 6 JAPAN 3 14 1 6 16 CHINA 33 2 6 18 AF Tion for the Heritage of All Humankind
4 T rom the vast plains of the Serengeti to historic cities such T 7 ICELAND as Vienna, Lima and Kyoto; from the prehistoric rock art 1 5 on the Iberian Peninsula to the Statue of Liberty; from the 2 8 Kasbah of Algiers to the Imperial Palace in Beijing — all 5 2 of these places, as varied as they are, have one thing in common. FINLAND O 3 All are World Heritage sites of outstanding cultural or natural 3 T 15 6 SWEDEN 13 4 value to humanity and are worthy of protection for future 1 5 1 1 14 T 24 NORWAY 11 2 20 generations to know and enjoy. 2 RUSSIAN 23 NIO M O UN IM D 1 R I 3 4 T A FEDERATION A L T • P 7 • W L 1 O 17 A 2 I 5 ESTONIA 6 R D L D N 7 O 7 H E M R 4 I E 3 T IN AG O 18 E • IM 8 PATR Key LATVIA 6 United Nations World 1 Cultural property The designations employed and the presentation 1 T Educational, Scientific and Heritage of material on this map do not imply the expres- 12 Cultural Organization Convention 1 Natural property 28 T sion of any opinion whatsoever on the part of 14 10 1 1 22 DENMARK 9 LITHUANIA Mixed property (cultural and natural) 7 3 N UNESCO and National Geographic Society con- G 1 A UNITED 2 2 Transnational property cerning the legal status of any country, territory, 2 6 5 1 30 X BELARUS 1 city or area or of its authorities, or concerning 1 Property currently inscribed on the KINGDOM 4 1 the delimitation of its frontiers or boundaries. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
Margravial Opera House Bayreuth Kaldor, A., Opera Houses of Europe, Antique Collectors’ Club, (Germany) UK & USA, 1996
Literature consulted (selection) Margravial Opera House Bayreuth Kaldor, A., Opera Houses of Europe, Antique Collectors’ Club, (Germany) UK & USA, 1996. No 1379 Ertug, A., Forsyth, M, and Sachsse, R., Palaces of Music: Opera Houses of Europe, AE Limited Edition, USA, 2010. Technical Evaluation Mission An ICOMOS technical evaluation mission visited the Official name as proposed by the State Party property from 13 to 14 September 2011. Margravial Opera House Bayreuth Additional information requested and received Location from the State Party Free State of Bavaria ICOMOS sent a letter to the State Party on 22 Administrative District of Upper Franconia September 2011 and the State Party provided Germany information on 24 October 2011 on the property´s current conservation status, works to be undertaken Brief description between 2010 and 2014, transformation or additions to The 18th century Margravial Opera House in Bayreuth is the building, impacts of adjustments to contemporary a masterwork of Baroque theatre architecture, uses, regulations of visitors, participation of local commissioned by Margravine Wilhelmine, wife of authorities and other stakeholders. The information has Frederick, Margrave of Brandenburg-Beyreuth, as a been incorporated below. A further letter was sent on 5 venue for opera seria. The bell-shaped auditorium of December 2011 asking the State Party to consider tiered loges built of wood lined with decoratively painted shortening the name of the nominated property to canvas was designed by the then leading European ‘Margravial Opera House Bayreuth’. A response was theatre architect Giuseppe Galli Bibiena. It survives as received from the State Party on 18 January 2012 the only entirely preserved example of court opera house agreeing to this proposal. -
Wagner in the "Cult of Art in Nazi Germany"
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2-1-2013 Wagner in the "Cult of Art in Nazi Germany" David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. Wagner in the "Cult of Art in Nazi Germany". WWW2013: Wagner World Wide (marking the Wagner’s bicentennial) at the University of South Carolina, Columbia, SC, , : , 2013. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Conference Proceeding is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © David B. Dennis 2013 Richard Wagner in the “Cult of Art” of Nazi Germany A Paper for the Wagner Worldwide 2013 Conference University of South Carolina, Columbia, SC January 30-February 2, 2013 David B. Dennis Professor of History Loyola University Chicago In his book on aesthetics and Nazi politics, translated in 2004 as The Cult of Art in Nazi Germany, Eric Michaud, Director of Studies at the École des Hautes Études en Sciences Sociales in Paris, wrote that National Socialist attention to the arts was intended “to present the broken [German] Volk with an image of its ‘eternal Geist’ and to hold up to it a mirror capable of restoring to it the strength to love itself.” 1 I came upon this, among other ideas of Michaud, when preparing the conceptual framework for my own book, Inhumanities: Nazi Interpretations of Western Culture, just released by Cambridge University Press.