DOCSLIB.ORG

Richard Strauss 1864–1949 Ariadne Auf Naxos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Strauss 1864–1949 Ariadne Auf Naxos 9084 Ariadne brief_BL2-Q6.qxd : 9084 Ariadne brief_BL2-Q6.qxd, Flat 2 of 6 - Pages: 2, 11, 01/29/09 06:11 PM Richard Strauss 1864–1949 and offers familiar ‘comfort’. The couple spars verbally until the other three ‘lovers’ reappear and, in a complex pantomime, all four men variously lay siege to her. Ariadne auf Naxos Eventually she runs off with Harlekin, to the others’ dismay. Opera in one act with a prologue · Libretto: Hugo von Hofmannsthal Najade, Dryade and Echo rush on to announce the arrival of Bacchus and detail his divine ancestry, not to mention his recent involvement with the sorceress Circe. Ariadne Prima Donna/Ariadne ............................................... DEBORAH VOIGT emerges from her grotto to hear Bacchus’ offstage railing against Circe, whom he is Zerbinetta................................................................... NATALIE DESSAY evidently expecting to re-encounter. Ariadne, equally, is convinced that she is hearing Composer.................................................... ANNE SOFIE VON OTTER the longed-for messenger of death, and welcomes him when he finally enters. In a long, Tenor/Bacchus................................................................. BEN HEPPNER never-resolved conflict of cross-purposes and confused identities, Bacchus is Major-Domo............................................................ ROMUALD PEKNY overwhelmed by Ariadne’s beauty, even though he thinks she is another sorceress, Music Master........................................................... ALBERT DOHMEN whilst she is concerned only with the details of her presumably imminent death- Officer............................................................. KLAUS FLORIAN VOGT transformation. Aflame with passion, Bacchus will hear no more of dying: he is, after Dancing Master .................................................... MICHAEL HOWARD all, a god, and the heavens themselves will die before he will let anything happen to her. Wig-Maker.................................................... MATTHIAS HENNEBERG But as the sky fills with stars, she is still as certain that she is going to her death with Lackey.............................................................. JÜRGEN COMMICHAU him, as he is that he is bewitched by her. Najade............................................................ CHRISTIANE HOSSFELD The scene slowly changes, and Ariadne’s cave disappears, symbolising Dryade...................................................................... ANGELA LIEBOLD transformation. As the lovers are increasingly hidden from sight by a descending Echo ............................................................................. EVA KIRCHNER canopy, Zerbinetta appears from the wings with her own interpretation of events: men Scaramuccio................................................................ IAN THOMPSON turn up like gods and women fall for it. Harlekin....................................................................... STEPHAN GENZ © Stephen Jay-Taylor, 2009 Truffaldino .................................................................. SAMI LUTTINEN Brighella .................................................................. CHRISTOPH GENZ Cover image: Evelyn DeMorgan: Ariadne in Naxos, 1877 Photo: © The De Morgan Centre, London/The Bridgeman Art Library Staatskapelle Dresden Giuseppe Sinopoli 2 11 9084 Ariadne brief_BL2-Q6.qxd : 9084 Ariadne brief_BL2-Q6.qxd, Flat 3 of 6 - Pages: 10, 3, 01/29/09 06:11 PM completely disarms the susceptible boy. As the Music Master tells everyone to take their Compact Disc 1 71’12 places onstage, the Composer is moved to an impassioned outburst praising music as the ‘holiest’ art of all. But his mood is shattered by a shrill whistle from Zerbinetta Prologue summoning her troupe, and he is once again plunged into dejection. 1 Overture (Orchestra) 2’19 2 Mein Herr Haushofmeister! 5’56 THE OPERA (Music Master/Major-Domo/Lackey/Officer/Composer) A grotto on the island of Naxos. 3 Du allmächtiger Gott! (Composer/Tenor/Wig-Maker/Zerbinetta/ 6’12 Prima Donna/Music Master/Dancing Master) After an overture depicting Ariadne’s emotional torment, the curtain rises on her cave 4 Hast ein Stückerl Notenpapier? (Composer/Zerbinetta/ 3’43 watched over by three nymphs – Najade, Dryade and Echo – who remark on her Prima Donna/Dancing Master/Lackey) inconsolability. Ariadne stirs, lamenting her fate and detested life, whilst Zerbinetta and 5 Ist schon geschehn. Wir sind bereit (Music Master/Major-Domo/ 8’25 company consider how hard it will be to cheer her up. Ignoring them completely, Prima Donna/Dancing Master/Tenor/Zerbinetta/Composer) Ariadne sings of the perfect union she once shared with Theseus, who has now 6 Nein, Herr, so kommt es nicht 5’18 peremptorily abandoned her, and how she longs only for the blessed relief that death (Composer/Zerbinetta/Music Master) itself will bring. Zerbinetta instructs Harlekin to offer comfort, but there is no response 7 Ein Augenblick ist wenig 5’06 from Ariadne, and the commedia troupe is left to muse on their thankless task. Ariadne (Zerbinetta/Composer/Music Master/Prima Donna) reflects on the desirability of death, looks forward to greeting Hermes, its messenger, 8 Sei’n wir wieder gut…Musik ist eine heilige Kunst 3’02 and the process of readying herself. (Composer/Music Master) The four male characters of Zerbinetta’s troupe – Harlekin, Scaramuccio, Truffaldin and Brighella – begin dancing as a certain cure for Ariadne’s melancholy, though Zerbinetta sees clearly that it isn’t working. CD 2 She decides on a woman-to-woman approach, attempting to cheer Ariadne – who soon stalks off – by recounting her extensive sexual history of being conquered by men who thought they were gods, which she would find deplorable if it hadn’t all been quite so delicious. Harlekin bounces on to commiserate with Zerbinetta’s forlorn efforts, 10 3 9084 Ariadne brief_BL2-Q6.qxd : 9084 Ariadne brief_BL2-Q6.qxd, Flat 4 of 6 - Pages: 4, 9, 01/29/09 06:11 PM Opera about it, but is forestalled by the bald singer emerging from his dressing-room, trading 9 Overture (Orchestra) 3’44 insults with the wig-master. 10 Schläft sie? (Najade/Dryade/Echo/Ariadne) 3’53 Zerbinetta emerges en dishabille with an officer, complaining that her troupe’s 11 Wo war ich? Tot? (Ariadne/Echo/Harlekin/Zerbinetta/Truffaldino) 3’16 comedy will wither after such a deadly bore as Ariadne auf Naxos. The Prima Donna 12 Ein Schönes war, hieß Theseus-Ariadne (Ariadne/Najade/Dryade/ 7’00 appears, imperiously demanding to speak to the Count. The Composer enquires about Echo/Harlekin/Zerbinetta/Truffaldino/Scaramuccio) Zerbinetta, and when he discovers the reason for the commedia dell’arte troupe’s 13 Lieben, Hassen, Hoffen, Zagen (Harlekin/Echo/Zerbinetta) 2’16 presence, he rails at the philistinism of both patrons and punters alike. Calming down, 14 Es gibt ein Reich (Ariadne) 6’02 he recalls his recent flash of inspiration, and then has another. Zerbinetta is joined by 15 Die Dame gibt mit trübem Sinn…Wie sie sich schwingen 5’00 her commedia colleagues who play her four lovers. As the Music Master tries to pacify (Harlekin/Scaramuccio/Brighella/Truffaldino/Zerbinetta) the outraged Prima Donna, Zerbinetta’s Dancing Master sees the sense in going on after the opera, if only in order to provide relief. But the Music Master is adamant: Compact Disc 2 50’39 Ariadne is all anyone will remember. The Major Domo reappears and drops a bombshell: the opera seria and the 1 Größmächtige Prinzessin (Zerbinetta) 11’10 commedia dell’arte must now be performed simultaneously. The protestations of both 2 Hübsch gepredigt! Aber tauben Ohren!…Eine Störrische zu trösten 8’01 troupes are dismissed: the fireworks are more important. The Dancing Master, rather (Harlekin/Zerbinetta/Brighella/Scaramuccio/Truffaldino) taken with the idea, tries in vain to convince the Composer to consent, and the Music 3 Ein schönes Wunder! (Dryade/Najade/Echo) 3’40 Master reminds his pupil of the as-yet unpaid fee on which he is relying. The Dancing 4 Circe, kannst du mich hören? 6’08 Master proposes cuts: better half an opera-seria than none at all. He sets him to work, (Bacchus/Ariadne/Najade/Dryade/Echo) whilst extolling Zerbinetta’s genius for improvisation which will smooth over any 5 Theseus! Nein! Nein! (Ariadne/Bacchus) 10’35 difficulties in performance. The Tenor and the Prima Donna respectively approach the 6 Das waren Zauberwörte (Ariadne/Bacchus) 3’14 Composer and the Music Master with a view to reducing the other’s roles, whilst the 7 Gibt es kein Hinüber? 7’51 Dancing Master gives a droll resumé of the opera seria’s plot to Zerbinetta. The (Ariadne/Bacchus/Najade/Dryade/Echo/Zerbinetta) Composer reproaches her cynical view of tragic passion: Ariadne is the one woman who is faithful unto death. But Zerbinetta is unmoved: in her opinion all Ariadne needs is a new lover. Zerbinetta crudely encapsulates the opera seria’s plot to her ‘four lovers’, but the Composer counters with his own vision of fidelity, prompting Zerbinetta to engage in some tactical flirtation of the ‘I’m just a simple showgirl’ variety that 4 9 9084 Ariadne brief_BL2-Q6.qxd : 9084 Ariadne brief_BL2-Q6.qxd, Flat 5 of 6 - Pages: 8, 5, 01/29/09 06:11 PM and eventually did the rounds, it remained for decades a relative rarity, and really only Ariadne auf Naxos came into the general repertory from the 1960s onwards. Even now, when it is to be heard frequently in all the world’s major houses, it is clear that its popularity is due Following the stupendously
Load more

Recommended publications
  • Círculo Del Liceo
    CÍRCULO DEL LICEO revista # 9 #9 · BAILE DE MÁSCARAS · ESCAPADA OPERÍSTICA A LONDRES · ESTEBAN RABAT · CARMEN MATEU · ALBERT DOHMEN · LOS VINOS DE OPORTO CARTA DEL PRESIDENTE editorial EDITORIAL Queridos socios, Como ya sabéis, y de acuerdo con los preceptos estatutarios se han convocado elecciones el próximo 16 de mayo. He cumplido dos mandatos consecutivos como Presidente por lo que de acuerdo con nuestros Estatutos no corresponde optar a la reelección. Creo que este precepto tiene Institución. No quiero repetir- mucho sentido, ya que ocho me, simplemente reiterar que años es tiempo suficiente para durante estos años hemos ge- poner en marcha programas nerado un conjunto de cam- e iniciativas. Por otro lado, es bios e iniciativas que dejan beneficioso para el Club que un Círculo mucho más sólido nadie se eternice en el mismo; y perdurable. Evidentemente después de ocho años es bue- quedan muchas cosas por ha- no un recambio. cer, pero pienso que la base Ésta es, pues, mi última de partida es mejor que la que carta como Presidente en la nos encontramos. Será tarea revista, una de las muchas ini- de la nueva Junta decidir si las ciativas que hemos puesto en iniciativas que están en marcha marcha estos años y que se ha deben mantenerse y qué otras un extenso reportaje en esta consolidado como medio de se deberán implantar. revista. comunicación con los socios y Espero de la nueva Junta Por último, quiero tener como vehículo de proyección que actúe, como hemos hecho un especial recuerdo para al exterior del club. nosotros, siempre pensando en Carmen Mateu Quintana, me- Quiero deciros, en primer el interés del Círculo y sus so- dalla de oro del Círculo, pre- lugar, que ha sido un honor cios.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Voix Nouvelles, Concert Des Lauréats
    Concert Voix Nouvelles du mercredi Concert des lauréats du Concours Voix Nouvelles 2018 me 12 décembre 18h PROG_VOIX NOUVELLES_140190.indd 1 04/12/2018 16:22 Hélène Carpentier ©Harcourt Caroline Jestaedt ©DR Eva ZAÏCIK ©Philippe Biancotto Gilen Goicoechea ©DR Concert des lauréats du Concours Voix Nouvelles 2018 PROG_VOIX NOUVELLES_140190.indd 2 04/12/2018 16:22 Concert du Mercredi en Grande Salle Surtitré en français +/- 1h10 sans entracte Caroline Jestaedt ©DR Concert des lauréats du Concours Voix Nouvelles 2018 Voix Nouvelles Avec Hélène Carpentier soprano Caroline Jestaedt soprano Eva Zaïcik mezzo-soprano Gilen Goicoechea baryton Gilen Goicoechea ©DR Direction musicale Cyril Diederich Orchestre de Picardie Concert des lauréats du Concours Voix Nouvelles 2018 Le Concours Voix Nouvelles est co-organisé par le Centre Français de Promotion Lyrique, la Fondation Orange et la Caisse des Dépôts, avec le soutien du Ministère de la Culture, du Ministère des Outre-Mer et de l’Adami, en partenariat avec France 3, France Musique et TV5 Monde PROG_VOIX NOUVELLES_140190.indd 3 04/12/2018 16:22 ••• Programme Airs d’opéras de Wolfgang Amadeus Mozart (1756-1791) 1. Ouverture des Noces de Figaro 2. Air de Chérubin : « Voi che sapete » (Les Noces de Figaro) 3. Air du Comte : « Hai già vinta la causa » (Les Noces de Figaro) 4. Duo Comtesse et Susanne « Canzonetta sull’aria » (Les Noces de Figaro) 5. Air de Guglielmo : « Donne mie, la fate a tanti » (Così fan tutte) 6. Trio Fiordiligi, Dorabella, Alfonso : « Soave Sia il vento » (Così fan tutte) 7. Ouverture de Don Giovanni 8. Air de Zerline : « Vedrai carino, se sei buonino » (Don Giovanni) 9.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • Ariadne Auf Naxos: a Study in Transformation Through Contrast and Coalescence
    Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence By Copyright 2015 Etta Fung Submitted to the graduate degree program in Vocal Performance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Julia Broxholm ________________________________ Paul Laird ________________________________ David Alan Street ________________________________ Joyce Castle ________________________________ Michelle Heffner Hayes Date Defended: 5/4/2015 i The Thesis Committee for Etta Fung certifies that this is the approved version of the following thesis: Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence _______________________________ Chairperson Julia Broxholm Date approved: 5/13/15 ii Abstract Ariadne auf Naxos, by composer Richard Strauss and librettist Hugo von Hofmannsthal, concerns the simultaneous performance of a tragedy and a comedy at a rich man’s house in Vienna, and the conflicts that arise between the two groups. The primary focus of this paper is the character Zerbinetta, a coloratura soprano who is the main performer in the commedia dell’arte troupe. Following consideration of the opera’s historical background, the first segment of this paper examines Zerbinetta’s duet with the young Composer starting from “Nein Herr, so kommt es nicht…” in the Prologue, which reveals her coquettish yet complex character. The second section offers a detailed description of her twelve-minute aria “Großmächtige Prinzessin” in the opera, exploring the show’s various levels of satire. The last segment is an investigation of the differing perspectives of the performers and the audience during Zerbinetta’s tour de force.
    [Show full text]
  • Der Rosenkavalier by Richard Strauss
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • A Mythic Heroine in <I> Der Rosenkavalier </I>
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 11 | Issue 1 Article 3 A Mythic Heroine in Der Rosenkavalier Bridget Ramzy Wilfrid Laurier University Recommended Citation Ramzy, Bridget (2018) "A Mythic Heroine in Der Rosenkavalier ," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 11: Iss. 1, Article 3. A Mythic Heroine in Der Rosenkavalier Abstract This paper explores the Allomatische—Strauss and Hofmannsthal's concept of transformation by means of taking risk—through its application to Der Rosenkavalier's Marie-Therese (the Marschallin). The Allomatische’s very apparent presence throughout Strauss and Hofmannsthal’s collaborations in their “mythic” operas, urges its examination in Der Rosenkavlier. This paper explores the Marschallin's risk in context of gender, arguing that her self-acceptance as an ageing woman is an exceedingly brave act, that in-turn transforms her. In this paper, a character study of the Marschallin in Act I before the transformation, and after in Act III is presented and corroborated by interspersed musical examples. A comparison with other characters, both male and female, further establishes the gendered context of the Marschallin's risk. In conclusion, the Marschallin's brave risk of self-acceptance as an aging woman transforms her, and places her in the pantheon of Strauss and Hofmannsthal's mythic heroines. Keywords opera, gender, Der Rosenkavalier, the Marschallin, Richard Strauss A Mythic Heroine A Mythic Heroine in Der Rosenkavalier Bridget Ramzy Year II – Wilfrid Laurier University Richard Strauss and Hugo von Hofmannsthal were fascinated with the theme of transformation. Two of Strauss's tone poems, Tod und Verklärung and Eine Alpensinphonie, deal with the subject, and it is central in many of Strauss and Hofmannsthal’s collaborative works.1 Hofmannsthal wrote, “Transformation is the life of life itself, the real mystery of nature as creative force.
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting
    549-572_JOS_MayJune11_depts_C 3/28/11 2:06 PM Page 561 VOICE RESEARCH AND TECHNOLOGY Ingo Titze, Associate Editor Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting Ingo R. Titze, Albert S. Worley, and Brad H. Story INTRODUCTION IGH PITCHED SINGING SEEMS to follow two techniques that are clearly differentiated by the operatic style and the music theater style. Both styles (and hence the techniques) grew out of the need to produce intense unamplified vocal sound to large audi- Hences and over considerable large background instrumental accompaniments. The styles have been cultivated over time, even though amplification is now part of some performances in both styles. Ingo Titze Several authors have described differences between operatic productions and music theater productions. Sundberg, Gramming, and LoVetri studied a female singer who could produce both styles and concluded that theater belting is characterized by a higher subglottal pressure, by a higher degree of glottal adduction, and a higher larynx position with a concomitant higher first formant frequency on comparable vowels.1 Schutte and Miller pointed out that the second harmonic was characteristically strong in belting and went on record to suggest that, acoustically, the strength of the second har- monic was the defining element of belting.2 Bestebreustje and Schutte studied the strengthening of individual har- Albert S. Worley monics by formants on several vowels produced in the belt style.3 Vowels with considerable mouth opening, such as /å /and / ø /, needed less modifi- cation than the vowels with less mouth opening, like / i / and / u /, to reinforce several harmonics with formants.
    [Show full text]
  • 22 March 2020 Lotte Lehmann's Art 2 2.Iba
    CHAPTER 1 Lehmann Bio There are many biographies of Lotte Lehmann (1888–1976) long and short, so I thought for this unconventional book of a singer’s artwork, the obituary that appeared in the New York Times would be an interesting alternative. You’ll see some corrections. The accompanying photos show her in her maturity and old age, as well as ones that apply to the words in the story of her life. 21 Lotte Lehmann, one of the most illustrious operatic sopranos and lieder singers of her day, died in her sleep yesterday at her home in Santa Barbara, Calif. She was 88 years old and had been in failing health for several months. Mme. Lehmann (she was of an era when the great prima donnas were always At the opening of the UCSB hall named in her honor addressed as Madame) performed in every major opera house in Europe and the United States and under every major conductor in her stage career, which extended from 1910 to 1945. She was a lovely Eva in Die Meistersinger, a dramatic Sieglinde in Die Walküre, a radiant Elsa of Brabant in Lohengrin, an awesome Elisabeth in Tannhäuser and a matchless Marschallin in Der Rosenkavalier, a role she made synonymous with her name. Moreover, she was a diva in the regal manner. In her lieder singing career, which continued until 1951, she excelled in songs by Schubert, Schumann, Brahms, Wolf and Strauss and never failed to pack recital halls. Her accompanists included such distinguished musicians as Bruno Walter and Paul Ulanowsky. Although she had long been celebrated throughout Europe and had made her American debut with the Chicago Civic Opera in 1930, Mme.
    [Show full text]
  • I Urban Opera: Navigating Modernity Through the Oeuvre of Strauss And
    Urban Opera: Navigating Modernity through the Oeuvre of Strauss and Hofmannsthal by Solveig M. Heinz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2013 Doctoral Committee: Associate Professor Vanessa H. Agnew, Chair Associate Professor Naomi A. André Associate Professor Andreas Gailus Professor Julia C. Hell i For John ii Acknowledgements Writing this dissertation was an intensive journey. Many people have helped along the way. Vanessa Agnew was the most wonderful Doktormutter a graduate student could have. Her kindness, wit, and support were matched only by her knowledge, resourcefulness, and incisive critique. She took my work seriously, carefully reading and weighing everything I wrote. It was because of this that I knew my work and ideas were in good hands. Thank you Vannessa, for taking me on as a doctoral rookie, for our countless conversations, your smile during Skype sessions, coffee in Berlin, dinners in Ann Arbor, and the encouragement to make choices that felt right. Many thanks to my committee members, Naomi André, Andreas Gailus, and Julia Hell, who supported the decision to work with the challenging field of opera and gave me the necessary tools to succeed. Their open doors, email accounts, good mood, and guiding feedback made this process a joy. Mostly, I thank them for their faith that I would continue to work and explore as I wrote remotely. Not on my committee, but just as important was Hartmut. So many students have written countless praises of this man. I can only concur, he is simply the best.
    [Show full text]