DOCSLIB.ORG

Learning Unit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Learning Unit Learning Unit “Deconstructing the Wild <> Child”, about the connection of “Primitivism” in Modern Art, the development of “child art” and “child creativity”, the racist construction of “the Other” in these approaches and its traces in current art education practices, approaches and terms. Text by Carla Bobadilla, Andrea Hubin, Karin Schneider Introduction The Learning Unit of the Viennese working group aims to understand if the history of the construction of “fantasy” and “creativity” as related to the “exotic” other still informs current methods and ideas of museum, gallery and art education practices (not only) for children – and if so, how these connection-points work. We propose to look at parts of this history through our own experiences of and ideas on art education for children. The figure of “the child” as innocent, in need for guidance and protection with an embedded potential of fantasy and creativity that should not be spoiled by “Civilization” is in itself a construction that underpins the concepts of child-art of the 19th and 20th century and still might unconsciously inform our own ideas and approaches. In the construction of the Learning Unit we started with our own path to art education and experiences in this field (as artists, art historians, activists coming from different social, geographical and professional backgrounds) and followed some of the hints back into the history of the development of child art, avant-garde art and the construction of “the other” in Vienna of the late 19th century to the 1930s of the 20th century. A key figure that crossed our path several times is the artist and art educator Franz Cizek, one of the inventors of “Child Art”1, in the context of the Secession movement in Vienna: “(…) Franz Cizek was born in 1865 in the town of Leitmeritz, in the former Austria. After his studies, he moved to Vienna, where he studied at the Academy of Fine Arts in 1885. At this time young artists were responding to the impressionist movement and began to withdraw from the established exhibitions and societies all over Europe. The art nouveau movement arrived in Vienna, where it took a decidedly Austrian direction. Cizek became a member of the “Secession” in Vienna, a group of progressive artists who were looking for new expressions of form in art. Nineteen artists, including Klimt, Olbrich, Moser, and Otto Wagner, organized the group in 1897. (...) Cizek’s insistence at recognizing the creativity in children led him to develop his method of teaching not by teaching in the accustomed manner, but by letting the children teach themselves. In order not to violate what Cizek believed was an innate creativity, he urged the children to draw what they felt like drawing”. (Donna Darling Kelly, Uncovering the history of children's drawing and art, Westport, Conn.: Praeger, 2004, p. 81-92) In 1903 Cizek´s first “Juvenile Art Class” was opened in the “Kunstgewerbeschule” in Vienna; it “consisted of forty to sixty children mostly of ages ranges from seven to fourteen years although there were occasionally a few older or younger, even as young as two. They painted in water colour and poster colour, executed woodcuts, linocuts, and papercuts, modelled in clay, embroidered, and stitched applicé, working from imagination. Nothing was taken from nature and copies.” (Stuart Macdonald, The History and Philosophy of Art Education, London: University of London Press, 1970, p 341f) … And we follow the traces and hints from the past back into the 1970s, 1980s and finally the 1990s and the present time, amazingly finding evidences of the unquestioned idea, that children will express “pure” or “embedded” fantasy and imagination and that these expressions are best described through projections to imaginary, “exotic” places beyond Europe – to use these places as projection screens for the idea of the unknown, the wild, the imaginative that might inspire and trigger the work with children. We understand our Learning Unit as an invitation to connect one's own experiences, concepts and approaches of art education, gallery and art based activities with children with historical concepts to ask if and what kind of connection there might exist. Together we want to learn where our idea of a good, imaginative method of art or gallery education stems from and what kind of construction this ideas might carry with them. The Vienna Learning Unit understands itself as connected to Learning Units or suggestions for discussions from the Cairo Working Group (Andrea Thal), the Kampala Working Group (Emma, Kitto), and Carmen Mörsch; we 1 „Child Art is an art which only the child can produce“ Cizek quoted in Macdonald might create together an “umbrella text”, first suggested by Carmen at the meeting in Vienna; in this context the quotes from the Viennese sources also aquired different meanings as we had the chance to ask what the construction of these constructions and European Racist imagination of colonial desires mean for the African context. Guidelines for a workshop proposed from the Viennese working group as the activity that might be done in different contexts with the material provided in our Learning Unit. The target groups of the workshop are teachers, artists who are interested in Child Art, art educators, people who experienced educators as children, people who work with children in creative, art based or parenting related contexts, people who carry on children art studios or activities for children in museum or gallery, theatres, youth clubs etc. or who are in general interested in the deconstruction of the idea of the “wild child”. The Vienna working group is planning to invite different people from different Viennese contexts of art / museum education to a workshop session, to try out the material, to shape the guidelines and questions and to include more personal stories of how to approach this material. Starting points • We assume that our Learning Unit will take place in a group setting. • Material that has been prepared on a table: 1. quotes from sources on art education, gallery education, Child Art in Vienna – printed on cards and prepared as a card deck in the middle of the table 2. blank index cards, every participant gets at approx. 5 blank index cards 3. yellow, blue and pink highlighter pens, every participant gets a set 4. Post Its and pens, every participant gets some 5. packaging paper to cover the whole table so that the material can be laid out on, and which can also be written on. 6. woolen threads and scotch tape on the table • An introductory text will be handed out which will give the broad historical context of the quotes chosen and the approach of three of the members of th Viennese group (Carla, Andrea, Karin) to the historical material will be explained. The central focus of these texts will be on the interest in gaining insight into how one’s own practice is reshaped and transformed by a problematic history and reshaped and transformed by dealing with this history in a critical way. • It might be useful to also provide food and something to drink as the workshop and the discussion might take longer. Breaks should be included by the needs of the group.. Procedure: Please follow the suggestions step by step to develop a common starting ground for discussions that connect own ideas on art education with certain historical points and ideas. Step 1-4 and step 7 are done alone, step 5-6 are collective processes: Here it might be good to agree on a time frame and may be a moderator and some roles of the discussion, 1. Step: Write down on the index cards (or a Post It) keywords, as an answer to the following question: “If you would do an art (art based educational) project for or with children, what would be your leitmotif, which you would align to what you are doing or which would be appropriate for what you are doing / which guides your practice?”. Write down every keyword on a separate card, and then put it aside. 2. Step: Take a quote from the card deck which has been prepared. Read it carefully. Take enough time for this (around 10 minutes) – NOTE: historical texts are often difficult to understand and can be irritating – this will be even more the fact as we are also dealing with Racist constructions. If you don’t want to deal with the a quote, if you don’t want to dig in the language used, please put it aside. With a yellow highlighter mark the places which seem to be important for gaining an understanding of the text: mark, for example, words which transmit in your opinion who is speaking, and who is addressed, or something which you don’t understand, or you don’t want to understand. 3. Step: Connect the keywords you noted at the beginning (see 1st Step) with the quote. Put the quote and your index cards with the key words on the table in front of you: is there a (language based) overlap, can you spot related concepts, closeness and distances? Place the keywords and the quotes in such a way to each other as to express this relationship. 4. Step: Read the quote again. Now mark in pink and blue (the order of the colours isn’t defined!), on the one hand positive, and on the other hand problematic and/or disturbing places in the quote. 5. Step: Take a look together at the constellations on the table and discuss whether the pink and blue parts offer any reasons to change the relationship (the proximity) of the keyword to the quote. Shift the distances between quotes and keywords during the discussion as long as you think it is necessary – it is also possible that everything is always in a move, that one keyword is very close and another keyword is on the other side of the table and that this order changes in the context of the thinking and discussion process.
Load more

Recommended publications
  • ARSC Journal, Vol.21, No
    Sound Recording Reviews Wagner: Parsifal (excerpts). Berlin State Opera Chorus and Orchestra (a) Bayreuth Festival Chorus and Orchestra (b), cond. Karl Muck. Opal 837/8 (LP; mono). Prelude (a: December 11, 1927); Act 1-Transformation & Grail Scenes (b: July/ August, 1927); Act 2-Flower Maidens' Scene (b: July/August, 1927); Act 3 (a: with G. Pistor, C. Bronsgeest, L. Hofmann; slightly abridged; October 10-11and13-14, 1928). Karl Muck conducted Parsifal at every Bayreuth Festival from 1901 to 1930. His immediate predecessor was Franz Fischer, the Munich conductor who had alternated with Hermann Levi during the premiere season of 1882 under Wagner's own supervi­ sion. And Muck's retirement, soon after Cosima and Siegfried Wagner died, brought another changing of the guard; Wilhelm Furtwangler came to the Green Hill for the next festival, at which Parsifal was controversially assigned to Arturo Toscanini. It is difficult if not impossible to tell how far Muck's interpretation of Parsifal reflected traditions originating with Wagner himself. Muck's act-by-act timings from 1901 mostly fall within the range defined in 1882 by Levi and Fischer, but Act 1 was decidedly slower-1:56, compared with Levi's 1:47 and Fischer's 1:50. Muck's timing is closer to that of Felix Mottl, who had been a musical assistant in 1882, and of Hans Knappertsbusch in his first and slowest Bayreuth Parsifal. But in later summers Muck speeded up to the more "normal" timings of 1:50 and 1:47, and the extensive recordings he made in 1927-8, now republished by Opal, show that he could be not only "sehr langsam" but also "bewegt," according to the score's requirements.
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • An Illustrated Chronology
    Richard Tauber: An illustrated Chronology Fully updated and expanded, with a new Picture Gallery Daniel O’Hara With a Foreword and Afterword by Dr. Nicky Losseff and Marco Rosenkranz September 2020 Saltburn-by-the-Sea Dedicated to the memory of Richard Tauber Born: Linz, 16 May 1891. Died: London, 8 January 1948, and of John Marsom [1940-2018], my loving partner for over 46 years. Warning: Earlier versions of this work have been archived and pirated by other websites. The most recent update will always be the one found here: http://www.richard-tauber.de/wp-content/pdf/TAUBER-CHRONOLOGY.pdf Daniel O’Hara – Richard Tauber Chronology – Last revised: Sept. 2020 AUTHOR’S PREFACE I first became enthralled by the voice and artistry of Richard Tauber in my mid-teens through a 1955 BBC television showing of his 1936 film Land without Music. I soon began to collect his records and compile a discography, though my only sources then were Clough & Cummings’ World Encyclopaedia of Recorded Music (WERM) and old Parlophone Catalogues. In 1958 I became the youngest member of the recently-formed Richard Tauber Society, founded by Terry Griffin, through which I got to meet and corresponded with Tauber’s accompanist Percy Kahn and his widow Diana Napier, who served respectively as Society President and Vice-President. Early work on this Chronology began several decades ago in a series of notebooks. The information they contained was gradually transferred to a computer file, starting in 2007. This was added to and modified over the following years until a draft - still fairly sketchy - was considered extensive enough to post online in June 2011.
    [Show full text]
  • Wagner Society of New York a Centennial Tribute to Sir Georg Solti October 17, 2012
    Wagner Society of New York A Centennial Tribute to Sir Georg Solti October 17, 2012 SIR GEORG SOLTI, DAS RHEINGOLD, AND THE STEREO ERA Joe Pearce President, Vocal Record Collectors Society Photo by Allen Warren Sir Georg Solti’s 1958 recording of Das Rheingold is considered to be, even after over a half-century of the most stalwart competition, one of the very greatest operatic recordings ever made. Indeed, for many of us, it has an impor- tance out of all proportion to just its musical and interpretative merits, for it ushered in a new era of operatic record- ing in a way that perhaps neither Sir Georg nor the set’s indefatigable producer, John Culshaw, could possibly have envisioned. To understand its full importance, however, it is first necessary to look at the conditions obtaining for recorded opera in general, and for recorded Wagner in particular, up to the time of its issuance. And in this context we must also briefly examine the tremendous accomplishment of Sir Georg Solti, who not only conducted Das Rheingold but over seven ensuing years made possible the completion of the entire RING project: the first-ever com- plete studio recording of what many consider the greatest artistic masterpiece, musical or otherwise, of the entire 19th century. In a survey of critical opinion published by the BBC Music Magazine (January 2012 issue), the Solti RING was voted “the greatest recording of all time.” Richard Wagner’s music was always a problem for the early recording industry. Unlike, say, Giuseppe Verdi, most of whose operas were easily divided up into arias, duets, trios and the like, (those of a relatively short duration favored by three- to five-minute 78rpm sides), most of Wagner’s scores were through-composed and not easily excerptable.
    [Show full text]
  • Tauber Chronology – Last Revised: May 2021
    Richard Tauber (1891-1948) An illustrated Chronology Updated, with new features and expanded Picture Gallery Daniel O’Hara With a Foreword and Afterword by Dr. Nicky Losseff and Marco Rosenkranz May 2021 Saltburn-by-the-Sea Daniel O’Hara – Richard Tauber Chronology – Last revised: May 2021 Dedication Dedicated to the memory of Richard Tauber Born: Linz, 16 May 1891. Died: London, 8 January 1948, and of John Marsom [1940-2018], my loving partner for over 46 years. Warning: Earlier versions of this work have been archived and pirated by other websites. The most recent update will always be the one found here: http://www.richard-tauber.de/ What’s New in this Edition? A new feature, I thought it might be helpful briefly to mention at the beginning entries that are new – or significantly changed - in this edition, so readers already familiar with the previous edition(s) can go straight to the relevant pages. ● The UK tour in April 1937 began in Dublin: new dates/venues/details have been added. Additional details of his visits to Ireland in April 1935 and Jan 1945 have also been confirmed. ● A new work has been added to the list of RT’s stage appearances. Morgen wider Lustik!, an operetta by Heinz Lewin (1888-1942), a boyhood friend of Tauber’s in Wiesbaden, who perished in the Holocaust, was performed at the Theater des Westens in Berlin in 1921/2. I thank Heinz Lewin’s granddaughter, Yvonne Mocatta, for this information. ● New photographs have been added, including two of Tauber’s grave, one attended by the youthful author, taken in March 1978.
    [Show full text]
  • Livres Et Documents Sur Richard Wagner (1813-1883)
    LIVRES ET DOCUMENTS SUR Richard WAGNER (1813-1883) (Mise à jour le 25 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 Livres et documents sur Richard Wagner (1813-1883) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Richard Wagner, correspondance… 4 C: Biographies, études… 6 D : Ouvrages collectifs, colloques, symposiums… 15 E : Revues… 16 G : Analyses d'œuvres… 17 Wagner dans les ouvrages thématiques… 23 Wagner dans les biographies d'autres compositeurs… 32 PARTITIONS 36 ENREGISTREMENTS SONORES 41 REVUES 64 FONDS D'ARCHIVES 66 ARCHIVES NUMÉRISÉES 75 2 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 LIVRES BIOGRAPHIES DE RICHARD WAGNER A : catalogues… Bayreuth 1876-1976. - Bayreuth : Festspielleitung Bayreuth, 1976. - (BM WAG A14) Dossier Richard Wagner de Roger Commault. - . - (BM WAG A11 (Réserve)) Exposition Richard Wagner : Musée Galliéra, 24 juin-17 juillet 1966. - Paris : Musée Galliéra, 1966. - (BM WAG A13) Richard Wagner Kalender : Merkbüchlein über Richard Wagner's Leben, Werke und Wirken für alle Tage des Jahres. - Wien : Fromme, 1882. - (BM WAG A5 (Réserve)) Richard Wagners photographische Bildnisse. - München : Bruckmann, 1908. - (BM WAG A7) Wagner e Venezia : catalogo della mostra, Palazzo Vendramin-Calergi, 13 febbraio - 31 luglio 1983. - Venezia : Palazzo Vendramin-Calergi, 1983. - (BM WAG A10) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1885. - München : Schmid, 1885. - (BM WAG A5 (Réserve)) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1886. - München Leipzig : Schmid : Leede, 1886. - (BM WAG A5 (Réserve)) ASSOCIAZIONE RICHARD WAGNER DI VENEZIA. - Venezia per Wagner : progetto per la fondazione a Venezia di un museo e di un centro internazionale di studi e di ricerche dedicati a Richard Wagner.
    [Show full text]
  • CHAN 3038 BOOK COVER.Qxd 22/8/07 3:26 Pm Page 1
    CHAN 3038 BOOK COVER.qxd 22/8/07 3:26 pm Page 1 CHANDOS O PERA I N ENGLISH PETE MOOES FOUNDATION CHAN 3038(4) CHAN 3038 BOOK.qxd 22/8/07 3:29 pm Page 2 Richard Wagner (1813–1883) The Valkyrie AKG First Day of the Festival Play The Ring of the Nibelung Music drama in three acts Poem by Richard Wagner English translation by Andrew Porter Siegmund ....................................................................................................................Alberto Remedios tenor Hunding ............................................................................................................................Clifford Grant bass Wotan ..................................................................................................................Norman Bailey bass-baritone Sieglinde..................................................................................................................Margaret Curphey soprano Brünnhilde........................................................................................................................Rita Hunter soprano Fricka ....................................................................................................................Ann Howard mezzo-soprano Valkyries: Gerhilde ......................................................................................................................Katie Clarke soprano Ortlinde ....................................................................................................................Anne Conoley soprano Waltraute ............................................................................................................Elizabeth
    [Show full text]
  • Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 [email protected]
    CDs. L’OBRA DRAMÀTICA DE R. WAGNER. Qui és el director amb els temps més ajustats? Quin tenor ens colpeix més en la mort de Tristany? Quin ha estat el Gurnemanz més savi?........ Segons les respostes a aquestes i a moltíssimes més preguntes es pot confeccionar una llista de CDs o una altra. Una que doni més relleu a versions històriques o que reculli les més recents de manera que puguem escoltar els bons cantants actuals, que existeixen, sense haver de suportar les escenografies espantoses que avui dia es fan. O una mica de cada...... No volem ni podem ser exhaustius. A la xarxa trobareu més d0un lloc amb tot el que s’ha editat i totes les versions de les obres de Wagner. Nosaltres només volem obrir un espai de participació pels socis i us demanem que ens feu arribar les vostres predilectes amb un comentari, que si voleu publicarem en aquest espai, i així anirem entre tots compartint coneixements i emocions. DIE FEEN / LES FADES / LAS HADAS 1. Intèrprets: Kurt Moll, Linda Esther Gray, Kari Lövaas, Krisztina Laki, John Alexander, Cheryl Studer. Cor i orquestra: Chor des Bayerischen Rundfunk / Symphonieorchester des Bayerisches Rundfunk Director: Wolfgang Sawallisch Gravació d’una representació dels Festivals d’òpera de Munich ORFEO, 1984 2. Intèrprets: Jyrki Korhonen, Sue Patchell, Ulrize Sonntag, Manuela Kriscak, Raimo Sirkïa, arthur Korn Cor i orquestra: del Teatro Comunale di Cagliari Director: Gabor Ötvös Associació Wagneriana. Apartat postal 1159. Barcelona 08080 Http://www.associaciowagneriana.com [email protected] DAS LIEBESVERBOT / LA PROHIBICIÓ D’ESTIMAR / LA PROHIBICIÓN DE AMAR 1.
    [Show full text]
  • Rheingold L’Oro Del Reno Heingold Heingold R As As D Agner W Ichard Ichard R FONDAZIONE TEATRO LA FENICE DI VENEZIA Foto © Michele Crosera
    3 La Fenice prima dell’Opera 2011 3 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Richard Wagner das Rheingold L’oro del Reno heingold heingold R as as D agner W ichard ichard R FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998.
    [Show full text]
  • Der Fliegende Holländer Seminar/Webinar
    DER FLIEGENDE HOLLÄNDER SEMINAR/WEBINAR JUNE 29, 2020 and JULY 1, 2020 SENTAS: KNOWN AND UNKNOWN JOE PEARCE 1. KIRSTEN FLAGSTAD, soprano (1895-1962) a) Act II: - “Wohl kenn’ ich Golden Age HERBERT JANSSEN, baritone (1892-1965) Weibes heil’ge Pflichten” of Opera MAX LORENZ, tenor (1901-1975) b) Act II: - “Verzheit! EJS-515 LUDWIG WEBER, bass (1899-1974) Mein Volk….” MARY JARRED, m. s. (1899-1993) c) Act III: - “Zahllose Opfer Royal Opera Chorus, Covent Garden fielen diesen Spruch” London Philharmonic Orchestra Fritz Reiner, conductor (June 11, 1937) (6:29) 2. ASTRID VARNAY, soprano (1918-2006) Act II: - “Wohl kenn’ ich Voce Della HERMANN UHDE, bass-baritone (1914-1965) Weibes heil’ge Pflichten: Luna Bayreuth Festival Orchestra 2012-2 Joseph Keilberth, conductor (August 1955) (3:28) 3. INGRID BJONER, soprano (1927-2006) Act III: - “Zahllose Opfer Hamburger FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Archive SVEN OLAF ELIASSON, tenor (1933-2015) 10613 KARL RIDDERBUSCH, bass (1932-1997) REGINE FONSECA, m. s. (1932- ) RAI Rome Chorus and Orchestra Wolfgang Sawallisch, conductor (February 2, 1969) (2:50) 4. HELEN TRAUBEL, soprano (1898-1972) Act II: - “Traft ihr das Schiff” RCA RCA Victor Orchestra Victor Frieder Weissmann, conductor (1950) (5:10) 49-3148/49 5. MARIA MUELLER, soprano (1898?-1958) a) Act II: - “Wohl kenn’ ich Preiser JOEL BERGLUND, bass-baritone (1903-1985) Weibes heil’ge Pflichten” 90232 LUDWIG HOFMANN, bass (1895-1963) b) Act II: - “Verzheit! Bayreuth Festival Orchestra Mein Volk...” Richard Kraus, conductor (July 18, 1942) (4:22) 6. LEONIE RYSANEK, soprano (1926-1998) Act III: - “Zahllose Opfer Living FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Stage CLAUDE HEATER, tenor (1927-2020) 40-35125 KARL RIDDERBUSCH, bass (1932-1997) ANNEMARIE BESSEL, m.
    [Show full text]
  • Die Meistersinger, New York City, and the Metropolitan Opera: the Intersection of Art and Politics During Two World Wars
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Die Meistersinger, New York City, and the Metropolitan Opera: The Intersection of Art and Politics During Two World Wars Gwen L. D'Amico Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1221 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DIE MEISTERSINGER, NEW YORK CITY, AND THE METROPOLITAN OPERA: THE INTERSECTION OF ART AND POLITICS DURING TWO WORLD WARS by GWEN D’AMICO A dissertation submitted to the Graduate Faculty in Musicology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 Gwen D’Amico All Rights Reserved iii Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _______________________"""""""""""""""""""""""""""""""""""""""""""__________________________________" Date Norman Carey " " " " " " " Chair of Examining Committee ______________________"""""""""" " " _____________________________________" Date Norman Carey " " " " " " " Executive Officer Supervisory Committee Allan Atlas, Advisor Bruce MacIntyre, First Reader Nicholas Vazsonyi THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico Advisor: Professor Allan Atlas In 1945, after a five-year hiatus, the Metropolitan Opera returned Richard Wagner’s Die Meistersinger von Nürnberg to its stage.
    [Show full text]
  • A Partial Discographical Conspectus by Ralph Moore Tristan Und Isolde Represents Both the Highpoint of Roman
    Tristan und Isolde: A Partial Discographical Conspectus by Ralph Moore Tristan und Isolde represents both the highpoint of Romantic opera and the gateway to a new world of harmonic invention, epitomised by the famous “Tristan chord”. Despite its length and nearly insurmountable vocal challenges for its principal singers, it has established and maintained a central place in the operatic repertoire worldwide. For some, its popularity and appeal are inexplicable; they are likely to share Rossini’s verdict that “M. Wagner a de beaux moments, mais de mauvais quart d’heures” or, even worse, agree that, like Parsifal, Tristan "is the kind of opera that starts at six o'clock and after it has been going three hours, you look at your watch and it says 6:20.” I for one am not such a purist that I become very exercised if a few judicious cuts are made in this work, but at the same time I do not find that it drags, as long as the artists performing it can rise to its demands and sustain the requisite intensity. If I follow the work with a libretto I am apt to think that not a note is wasted; the intensity of Wagner’s vision is all-consuming if the listener can sustain concentration and be swept along by those glorious, through-composed melodies. I know of few more searingly dramatic moments in opera than “Er sah mir in die Augen” or “Rette dich, Tristan!”; this is grown-up music, devoid of stock gestures and tired platitudes, which instead explores the complexities of adult sexuality and relationships in the most extraordinarily subtle and profound manner, both musically and psychologically.
    [Show full text]