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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. -
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. -
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. -
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. -
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. -
Enescu US 3/11/05 11:27 Page 16
660163-64 bk Enescu US 3/11/05 11:27 Page 16 ENESCU 2 CDs Oedipe Pederson • Silins • Damiani • Lipov‰ek Chorus and Orchestra of the Vienna State Opera Michael Gielen Above: Oedipus (Monte Pederson) Right: Michael Gielen 8.660163-64 16 660163-64 bk Enescu US 3/11/05 11:27 Page 2 George ENESCU (1881-1955) Oedipe, Op. 23 (Tragédie lyrique en 4 actes et 6 tableaux) Libretto by Edmond Fleg Below and right: Oedipus (Monte Pederson) Oedipe . Monte Pederson, Bass-baritone Tirésias . Egils Silins, Bass Créon . Davide Damiani, Baritone Le berger (The Shepherd) . Michael Roider, Tenor Le grand prêtre (The High Priest) . Goran Simi´c, Bass Phorbas . Peter Köves, Bass Le veilleur (The Watchman) . Walter Fink, Bass Thésée . Yu Chen, Baritone Laïos . Josef Hopferwieser, Tenor Jocaste/La Sphinge (The Sphinx) . Marjana Lipov‰ek, Mezzo-soprano Antigone . Ruxandra Donose, Soprano Mérope . Mihaela Ungureanu, Mezzo-soprano Chorus of the Vienna State Opera Répétiteur: Erwin Ortner Vienna Boys Choir Orchestra of the Vienna State Opera Stage Orchestra of the Austrian Federal Theatres Michael Gielen 8.660163-64 2 15 8.660163-64 660163-64 bk Enescu US 3/11/05 11:27 Page 14 CD 1 63:53 CD 2 64:33 Act I (Prologue) Act III 1 Prelude 4:31 1 Oh! Oh! Hélas! Hélas! 9:04 (Chorus, Oedipus, High Priest, Creon) 2 Roi Laïos, en ta maison 6:56 (Women, High Priest, Warriors, 2 Divin Tirésias, très cher, très grand 6:02 Shepherds, Creon) (Oedipus, Tiresias, Creon, Chorus) 3 Les Dieux ont béni l’enfant 8:11 3 Qu’entends-je, Oedipe? 12:37 (High Priest, Jocasta, Laius, (Jocasta, -
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. -
Richard Strauss and Vienna.Pdf
Arabella 2018 insert.qxp_Arabella 2018 10/3/18 3:36 PM Page 4 B Y P AUL T HOMASON man, not an Austrian. For many Americans today that can seem like a distinction without much of a difference, but a century ago it was ichard trauss enough to make Strauss’ tenure at the Vienna State Opera a night- R S mare, rather than the dream job he had hoped it would be. Strauss stepped foot in Vienna for the first time in December 1882. ienna He wrote back home to his parents in Munich with all the savoir faire &V of a typical 18-year-old boy that it was “… just an ordinary city like Munich, only the houses are bigger, more palaces than inhabitants. t is natural we should equate Richard Strauss with Vienna. The girls aren’t any prettier than they are in Munich.” His weeklong After all, he wrote the quintessential Viennese opera, Der stay was designed to introduce himself to prominent musicians and Rosenkavalier, a glittering yet poignant work shot through with to make his music known. Toward that end he and his cousin, the vio- waltzes that seems to define the soul of the 18th-century city. The linist Benno Walter, gave a concert on the fifth of December in the old Ifact that Rosenkavalier is so much more than a nostalgic Neverland Bösendorfer concert rooms. On the program was the premiere of of an opera is what keeps its characters and their situations so Strauss’ Violin Concerto with the composer at the piano in place of an alive and makes it meaningful to listeners today. -
The World Knows Latvia By… Latvia: Smart and Stylish
FACT SHEET ON LATVIA Nations have long understood that their greatest treasure is their people. Latvia is an exceptional example of how great people and great ideas are born in relatively small countries. The World Knows Latvia By… Latvia: Smart and Stylish Over the centuries, Latvia’s geopolitical situation has been shaped by its strategic Baltic Sea location, at the crossroads of trade and conflicting power interests. The dynamic forces that forged Latvia’s turbulent history have produced a unique set of values, traits, and characteristics in its people, and have led to their recognition around the world. This is just a brief look at the achievements and contributions of some of the world’s most famous artists, musicians, athletes, scientists, designers, and scientists whose lives originated or where influenced by Latvia. Also notable are those exhibiting a characteristically Latvian attribute – a passion for exploration, innovation, and adventure. Culture Mezzo-soprano Elīna Garanča (1976) appearances at the Royal Opera House Covent Garden, the Metropolitan Opera Endowed with a magnificent mezzo-soprano in New York, Wiener Staatsoper, and Deutsche Staatsoper. He also makes regular voice, Elīna Garanča became a finalist in the 2001 appearances at such summer festivals as Lucerne Festival, BBC Proms and Berliner BBC’s Cardiff Singer of the World Competition and Festspiele. soon after made her solo recording debut. In 2005 Garanča signed an exclusive contract with Deutsche Composer Ēriks Ešenvalds (1977) Grammophon. Currently a soloist at the Vienna Opera, Ēriks Ešenvals is one of the most popular she has appeared at the world’s major opera houses and beloved Latvian composers of the new and concert venues and established herself as one of generation. -
AIMS Handbook Updated April 2018
AMERICAN INSTITUTE OF MUSICAL STUDIES AIMS in Graz, Austria since 1970 AIMS Handbook updated April 2018 TABLE OF CONTENTS Section 1 Preparing for the AIMS in GRAZ Experience 1.1 German 1.2 Health Matters 1.3 Health Care 1.4 Medical Insurance 1.5 Prescription Drugs 1.6 Special Diets 1.7 Passports 1.8 Visas 1.9 Transportation to Graz 1.9.1 Arrival in Graz 1.9.2 General Flight Info 1.10 Travel Insurance 1.10.1 Baggage Insurance 1.10.2 Flight Cancellation and Travel Insurance 1.10.3 Medical Insurance While Abroad 1.11 U.S. Customs 1.11.1 Contraband 1.11.2 Declarations 1.12 What to Bring to Graz 1.12.1 Electricity, Adapter Plugs & 220 volt Appliances 1.12.2 Clothing and the Weather in Graz 1.12.3 Necessities and Helpful Items 1.13 Helpful Reminders 1.14 Instrument Travel 1.15 Labeling your Luggage 1.16 Money for Food and incidental Expenses 1.17 Changing Money (also see section 4.1) Debit cards, Credit cards, Cash advances, Personal checks, Traveler’s checks, Cash 1.18 Music and Repertoire 1.19 Photos 1.20 Your AIMS Address 1.21 Telephones 1.22 Setting Realistic Goals for a Profitable Summer Section 2 Arriving and Getting Settled at the Studentenheim and in Graz 2.1 Room/Key Deposit 2.2 Changing Money 2.3 Streetcar/Bus Tickets 2.4 Photocopy of Passport 2.5 Late Arrivals 2.6 Jet Lag 2.7 Time Difference between Graz and the U.S. Section 3 Living in the Studentenheim 3.1 Studentenheim Layout 3.2 Practice Rooms 3.3 Sleeping Rooms 3.3.1 Contents 3.3.2 Electricity 3.3.3 Security 3.3.4 Your Responsibilities 3.4 Breakfast 3.5 Overnight Guests 3.6 -
Boston Symphony Orchestra Summer 2015
summer 2015 boston symphony orchestra andris nelsons music director AndRis Nelsons, Ray and MaRia Stata Music DiRectoR BeRnaRd Haitink, LaCRoix Family Fund ConductoR EmeRitus, Endowed in PeRpetuity Seiji Ozawa, Music DiRectoR LauReate 134th season, 2014–2015 Trustees of the Boston Symphony Orchestra, Inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • CaRmine A. MaRtignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • GeoRge D. Behrakis • Ronald G. Casty • Susan BRedhoff Cohen, ex-officio • RichaRd F. Connolly, JR. • Diddy Cullinane • Cynthia CuRme • Alan J. DwoRsky • William R. ElfeRs • Thomas E. Faust, JR. • Michael GoRdon • BRent L. Henry • Susan Hockfield • BaRbaRa W. Hostetter • ChaRles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • CaRol Reich • Roger T. Servison • Wendy Shattuck • CaRoline TayloR • Roberta S. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • HaRlan E. Anderson • David B. Arnold, JR. • J.P. BaRger • GabRiella Beranek • Leo L. Beranek • DeboRah Davis Berman • Jan BRett • Peter A. BRooke • John F. Cogan, JR. • Mrs. Edith L. Dabney • Nelson J. DaRling, JR. • Nina L. Doggett • Nancy J. Fitzpatrick • Thelma E. GoldbeRg† • ChaRles H. Jenkins, JR. • MRs. Béla T. Kalman • GeoRge KRupp • MRs. HenRietta N. MeyeR† • RichaRd P. MoRse • David MugaR • MaRy S. Newman • Vincent M. O’Reilly • William J. PooRvu • PeteR C. Read • EdwaRd I. Rudman • RichaRd A. Smith • Ray Stata • Thomas G. StembeRg • John Hoyt Stookey • WilmeR J.