Pages in category "1930 operas"
The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes (learn more).
The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes (learn more).
1. Opera – Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
2. Les aventures du roi Pausole – Les aventures du roi Pausole is an opérette in three acts with music by Arthur Honegger and a French libretto by Albert Willemetz, based on the 1901 novel by Pierre Louÿs. It was Honegger’s third operatic work, but his first in lighter vein, excluding dialogue, there is around 75 minutes of music, making it longer than many of his more serious works. While showing the influence of Mozart, Chabrier and Messager, it contains a range of orchestral colours with occasional glances at jazz of the 1930s. Les aventures du roi Pausole was first performed at the Bouffes Parisiens on 12 December 1930, the opera was revived at the Théâtre des Capucines in 1947 and in Lausanne in 1990. A Toulon Opera production was seen at the Opéra-Comique in 2004. The Grand Théâtre de Genève mounted a production by Robert Sandoz in 2012, the complete score was recorded in August 1992 at Albisrieden church in Zurich. Along with the creators of principal roles, the original cast included Simone Simon, in 1933 Alexis Granowsky made a film version of the Louÿs original with André Berley and Josette Day. During a ballet given for the women of the harem, Aline falls for Mirabelle, while the king holds court under a cherry-tree – and lets off all the wrong-doers – Aline runs off with Mirabelle. But even after reading Aline’s note the king is indecisive, finally he follows the advice of his page Giglio and sets off on travels, and in search of his daughter. At the Golden Cockerel farm The seven farmers get everything ready for the arrival of the king, the farm is the only place to stay on the Tryphème road, and Aline and Mirabelle have stopped here. Mirabelle reveals to Aline that she is in travesty, after a duet they disappear as the king enters with Taxis, welcomed by a cantata from the farmers. Pausole sings an air of the legend of the ‘Coupe de Thulé’, Giglio, trying to seduce Thierette, spies Aline and Mirabelle through the key-hole, noting that Mirabelle is not a man. He sends Thierette away, and, in not to frighten the couple, dresses himself in a peasant’s dress. Aline decides that she prefers Giglio’s kisses to Mirabelle’s and all reveal their true identities, Giglio begins to interest Mirabelle and he agrees to help both Aline and Mirabelle escape. Pausole comes back and falls asleep, Aline finds him and leaves message to reassure him that she is fine. Diane à la Houppe and the harem enter and proclaim that revolt has broken out in the harem and this gives the king the chance to express his wish for peace, in which ‘national anthem’ all join. Aline and Mirabelle are in the same hôtel, the king’s daughter is yearning for the young page. Amid comings and goings from the different hotel rooms, there follow the entry of the Spanish chocolate, an air for Taxis, and a telephone duet
3. From the House of the Dead – From the House of the Dead is an opera by Leoš Janáček, in three acts. The libretto was translated and adapted by the composer from the novel by Dostoyevsky and it was the composers last opera, premiered on 12 April 1930 in Brno, two years after his death. There is only one character, and the setting, a Siberian prison. There is no narrative to the work as a whole, but individual characters narrate episodes in their lives, from the House of the Dead was virtually finished when Janáček died. Two of his students, believing the orchestration was incomplete, filled out large portions of the score, in addition to the work of Bretislav Bakala, Ota Zitek made changes to the text and sequence of events in the opera. Decades later, a closer to the composers intentions superseded that version. Some productions, however, still use the earlier versions ending to lessen the bleakness of the story, the opera requires a vast orchestra, including chains as a percussion instrument to evoke the sound of the prisoners. A Siberian prison camp on a winter morning The prisoners get up and he is Alexandr Petrovitch Goryantchikov, a political prisoner. The prison governor interrogates him and orders him to be flogged, the prisoners have found a wounded eagle and tease the bird until the guards order them to their work. The prisoners lament their fate, one of them, Skuratov, another, Luka Kuzmitch, tells how he incited a rebellion and killed an officer in his first prison camp. Just as he describes his own flogging, Goryantchikov is dragged in, six months later, at the Irtysh river Goryantchikov has befriended the young tartar Alyeya, asks him about his family and offers to teach him to read and write. The prisoners finish work as a holiday begins and a priest blesses the food, Skuratov tells his story, He loved a German girl, Luisa, but when she was to be married to an old relative, Skuratov shot the groom. For the holiday, the stage a play about Don Juan and Kedril and the pantomime about a beautiful. After the play, a prisoner tries to provoke Goryantchikov, as the nobleman has the means to drink tea even in prison, the prison hospital Goryantchikov looks after Alyeya, who is happy that he now knows how to read and write. Luka lies dying of tuberculosis and insults Tchekunov for his servile mannerism towards Goryantchikov, shapkin tells the story of his arrest as a vagrant and how an officer pulled his ear. During the night, Shishkov tells his story, interrupted by the impatient questions of Tcherevin, a rich merchant had a daughter, Akulka, whom a friend of Shishkovs, one Filka Morozov, claimed to have dishonoured. She was married to Shishkov who found out that she was a virgin, when he discovered that she still loved Filka, Shishkov killed her. Just then, Luka dies and Shishkov recognises him as Filka, a drunk prison governor apologises to Goryantchikov for the whipping and tells him that he has been pardoned and is free
4. Der Jasager – Der Jasager is an opera by Kurt Weill to a German libretto by Bertolt Brecht. Its companion piece is Der Neinsager although Brechts other text was never set by Weill, Weill also identifies the piece, following Brechts development of the experimental form, as a Lehrstück, or teaching-piece. It was first performed in Berlin by students of the Akademie für Kirchen und Schulmusik at the Zentralinstitut für Erziehung und Unterricht on 23 June 1930 and it was successful and there were over 300 performances during the following three years. Brecht subsequently revised the text twice, the version, including Der Neinsager. Notes Sources Amadeus Almanac, accessed 31 October 2008 Hinton, Stephen, in The New Grove Dictionary of Opera. An Introduction to the Social and Political Philosophy of Bertolt Brecht, Revolution, in Collected Plays, Three by Bertolt Brecht. Pp. 334–335 Media related to Der Jasager at Wikimedia Commons
5. Leben des Orest – Leben des Orest is a grand opera in five acts with words and music both by Ernst Krenek. It is his Op.60 and the first of his own libretti with an antique setting, the score is inscribed with the dates of composition,8 August 1928 –13 May 1929, and includes indications of recommended cuts made for the first production. It premiered at the Neues Theater in Leipzig on 19 January 1930, Leben des Orest had 13 productions by 1933, when the Nazis seized power and banned Krenek from German stages. The first postwar revival was in 1947 in Linz and performances in Frankfurt, Graz, Düsseldorf, the 1961 Darmstadt performances were conducted by Krenek himself, but drew loud demonstrations against its supposed musical conservatism. A successful revival was the Portland Operas 1975 Life of Orestes in the composers English translation, the curtain rises on a busy square in front of Agamemnons palace. Anastasia tells the crowd of the impending war, Agamemnon enters and exhorts them in chopped phrases, but they clamour loudly for peace. Go away and let me decide he orders, and the street is cleared by armed guards, theres no turning back, even if his own children were to be sacrificed. This strikes Ægisth, who has been following, as a good idea. After all, youre a little afraid of your son anyway, klytæmnestras cries are heard from the palace, Agamemnon tells her that, as priest of all Greece, he is carrying out the will of the gods. Klytæmnestra orders Anastasia to flee with Orest to Phokisland, and shudders as the instruments of sacrifice are brought in to the sound of trumpets, when the people are reassembled, Agamemnon announces his plan. As soon as Orests flight is known, they shout treachery and begin to riot, as he raises the axe the child disappears in thunder and darkness. As the breeze picks up, the people sing a farewell to peacetime and depart, the chorus altos again relate how Agamemnon was rewarded, for his great faith in the gods, with a miracle, and the curtain rises on Thoas astronomical observatory. He relates how, since he was widowed, he has sought consolation in the secrets of nature, thamar stirs in her sleep and tries to call a warning, but he places her back under hypnosis. Thoas bids the approaching vision to speak, and Iphigenie calls out for her father, both look startled and somewhat disappointed. After an interlude the chorus relates how Anastasia and Orest could go no farther when they reached Athens on the faire day, the New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. Leben des Orest, grosse Oper in fünf Akten, op, Krenek and Antiquity, His Thoughts on Life of Orestes and Pallas Athene Weeps. Newsletter of the Ernst Krenek Archive 5, no, zum Opernschaffen Ernst Kreneks in den 20er und 30er Jahren. The New Grove Dictionary of Opera,4 vols, edited by Stanley Sadie, managing editor, Christina Bashford
6. Von heute auf morgen – Von heute auf morgen is a one act opera composed by Arnold Schoenberg, to a German libretto by Max Blonda, the pseudonym of Gertrud Schoenberg, the composers wife. It is the composers opus 32, the opera was composed at the end of 1928, and was premiered at the Alte Oper in Frankfurt on 1 February 1930, with William Steinberg conducting Herbert Grafs production. It was the first twelve-tone opera, and Schoenbergs only comedy, the libretto may indeed be a contemporary comedy of manners, but the music is complex, the angular vocal-lines and large orchestra creating a frightening whirlwind of fury. Schoenberg wrote, I have proved in my operas Von heute auf morgen, in 1930, after the Frankfurt premiere, the composer himself conducted a radio broadcast performance in Berlin. After that, the opera was never performed again during Schoenbergs lifetime, recent revivals include four performances at the Leipzig Opera in 2009. The husband and wife have returned from an out and recall the earlier flirtations of the night. During the conversation, the wife gradually changes into a lovely negligee and their small child interrupts, and is put back to bed. The singer, from earlier in the evening, telephones, making the husband jealous, the wife changes into a cocktail dress, then back into the simple house-dress seen at the start of the opera. In the morning, the singer and the friend arrive for an early visit and they champion all the latest trends in society. When they leave, the husband and wife realize, over breakfast, that their own relationship is based on love, not the mere latest fashion. The score calls for,2 flutes,2 oboes,4 clarinets,2 bassoons,3 saxophones,2 horns,2 trumpets,3 trombones, tuba, percussion, mandolin, guitar, harp, piano, celesta, the full score is available from Schott Music. A performance lasts for one hour. Robert Craft conducting the Royal Philharmonic Orchestra, with sopranos Erika Schmidt and Heather Harper, tenor Herbert Schachtschneider, michael Gielen conducting the Radio-Sinfonie-Orchester Frankfurt, with sopranos Christine Whittlesey and Claudia Barainsky, tenor Ryszard Karczykowski and baritone Richard Salter. The 1996 recording was the basis for a version directed by the French filmmaking duo of Daniele Huillet. Photographed on a stage in black-and-white, the film was one of three films by Straub and Huillet based on Schoenberg works, earlier, they had directed a film version of his unfinished opera Moses und Aron. Notes Sources Von heute auf morgen, O. W. Neighbour, Von heute auf morgen in The New Grove Dictionary of Opera, ed. Stanley Sadie, London,1992 ISBN 0-333-73432-7