Category:Operas set in Germany
Pages in category "Operas set in Germany"
The following 38 pages are in this category, out of 38 total. This list may not reflect recent changes (learn more).
The following 38 pages are in this category, out of 38 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. Germany – Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD. The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
3. Le 66 – Le 66 is an opérette in one act of 1856 with music by Jacques Offenbach. The French libretto was by Auguste Pittaud de Forges and Laurencin, gänzl describes the work as in the rustic vein of Le violoneux and Le mariage aux lanternes. The premiere was at the Théâtre des Bouffes Parisiens Paris, on 31 July 1856, Le 66 remained in the Bouffes Parisiens repertoire, and was played by them in Vienna in 1862. It had already been seen at the Carltheater in that city in 1859, was produced in Budapest in 1860 and it was revived in Paris in 1984 at the Studio Bertrand alongside Pépito. Contemporary critics particularly admired in the score the romance and tyrolienne, en route for Strasbourg two starving travellers reach the outskirts of Stuttgart. Grittly has learnt that her sister is in distress and set off to see her. On meeting a pedlar on the road Frantz wins 100,000 florins in a lottery with the ticket 66 and he borrows money from the pedlar and goes off to the town on a spending spree, returning in expensive grotesque clothes. Grittly and he argue – and then discover that the ticket is actually 99, however, the pedlar turns out to be a rich long-lost relation who wanted to give Frantz a lesson in the dangers of extravagance. » Final « Ah. quel bonheur » Notes Original livret de censure of July 1856, accessed 27 July 2011
4. Die Abreise – Die Abreise is a comic opera in one act by composer Eugen dAlbert. The libretto was written by Ferdinand Sporck, a friend of the composer, after a play by August Ernst Steigentesch, Eugen dAlbert composed the opera in 1896. The score was published by Brockhaus in 1898, and is now available from Boosey & Hawkes, the opera was first performed 20 October 1898 at the Alte Oper in Frankfurt, under the baton of Ludwig Rottenberg. Time and place, the hall of a summer residence in central Germany. Gilfen and Luise have been married for years, and the passion in their relationship has dimmed considerably. Gilfen has been planning to undertake a journey, but he has postponed his departure every time because he was afraid his wife would take advantage of the situation. Trott, a friend of the couple, is in love with Luise, gilfen plays along and takes leave from his wife, faking his departure. Trott immediately seizes the opportunity, but Luise rejects him, gilfen then returns to find that his wife has been faithful to him. Now it is Trotts turn to leave, gilfen and Luise finally have time for each other again and they decide to renew their love. In 1998 CPO released a recording made in 1978 at the Recklinghausen Festspielhaus, jános Kulka conducted the Philharmonia Hungarica, the singers were Hermann Prey, Edda Moser and Peter Schreier. András Batta, Opera - Komponisten, Werke, Interpreten
5. Agnes von Hohenstaufen – Agnes von Hohenstaufen is an opera in three acts by the Italian composer Gaspare Spontini. The German libretto is by Ernst Benjamin Salomo Raupach and it was first staged at the Königliches Opernhaus, Berlin on 12 June 1829. Raupach categorised Agnes von Hohenstaufen as an opera and it is one of a number of German works of the time set in the Middle Ages. Agnes also contains many of the features that would be characteristic of French Grand Opera, Spontini substantially reworked the piece for a revival in 1837. Place, Germany Time, The Middle Ages The action concerns the struggle between the Holy Roman Emperor Henry VI and the leader of the noble Welf faction, Henry the Lion, Henry arrives at Mainz disguised as a troubadour. The French ambassador proposes that Agnes should be married to his king, Philip II Augustus, the emperor agrees and the betrothal is announced at a banquet. Henry, unable to bear the French ambassadors flirting with Agnes, is moved to anger, the emperor condemns him to death and banishes Agnes to a convent. This highhandedness provokes a mutiny amongst some of the nobles, Henry is offered his life providing he renounces Agnes and goes into exile. He angrily rejects these terms just as the mutinous nobles burst in, Henry tries to escape in the confusion but is captured by the French ambassador, who proposes that they should fight a duel the next day. The emperor agrees but gives secret orders to have Henry killed during an escape bid, Henry does indeed manage to break out of prison and reach Agnes in church, where the two are quickly married. The French ambassador is furious and only the intervention of the archbishop prevents a duel in church, Henry and Agnes plan to flee to the army of Henry the Lion, but they are captured. Henry agrees to fight the duel with the French ambassador and mortally wounds him and he is revealed to be none other than King Philip Augustus himself, who had wanted to see his betrothed before the marriage. Irmengard, Agnes mother, now announces that the wedding between Henry and her daughter has taken place. The emperor is furious but he provokes another mutiny among the nobles, Henry unexpectedly draws his sword to defend the emperors authority. At this point Henry the Lion arrives in person to announce his army has taken Mainz, the dying French king pardons the young Henry. The emperor blesses the couple and encourages his subjects to unite for an expedition to Italy. Although the original libretto is in German, only Italian-language versions of the opera have hitherto been recorded and filmed, germania Günther von Schwarzburg Die Rheinnixen Lohengrin Sources Holden, Amanda, The New Penguin Opera Guide, New York, Penguin Putnam,2001. ISBN 0-140-29312-4 German libretto by Ernst Raupach, agnese di Hohenstaufen, Italian version of the opera on YouTube
6. The Amber Witch (opera) – It premiered at Her Majestys Theatre, London on 28 February 1861 conducted by Charles Hallé with Helen Lemmens-Sherrington in the title role. The work was popular in Victorian England and had gone through several editions by the time Wallace chose it as the subject for his fourth. The novel, unlike the opera is on which it was based, retained its popularity and it was a favourite of Oscar Wildes when he was a boy, and in 1895 it was published in a luxury edition illustrated by Philip Burne-Jones. Wallace had sketched out most of the opera in 1860, the Times reported that the first nights performance was a success and that the music is almost as complicated as it is beautiful. Wallace considered it his best opera, and Queen Victoria attended one of the early performances, after its run at Her Majestys Theatre, it transferred to the Theatre Royal Drury Lane with most of the original cast, including Charles Santley. Santley recalled in his memoirs that although The Amber Witch contained some fine music, in 1866 at a concert to raise funds for Wallaces widow and children, two members of the original cast, Helen Lemmens-Sherrington and John Patey, sang three pieces from the Amber Witch – Hark. How the chimes, When the elves at dawn do pass, the opera was revived in London in the 1880s and again in 1899 by the Moody-Manners touring company. The opera is set in 17th-century Germany during The Thirty Years War and tells the story of Mary, the Amber Witch of the title, and she has discovered a vein of amber in the mountains outside her village. She uses it to buy food and clothes for the starving villagers, Count Rudiger of Ravenstein falls in love with her and woos her disguised as a peasant. However, the local Commandant is also in love with her, when Mary spurns his affections and chooses Rudiger, the Commandant contrives with the aid of his jealous servant Elsie to have Mary accused of witchcraft and imprisoned. After many vicissitudes, Count Rudiger rescues Mary as she is about to be burnt at the stake, Elsie dies after taking poison, good eve, my gentle father O never laugh, Sir Knight Hark. How the chimes Do you want a letter, – A soldier must forever war be waging Haughty maid O bright is the palace dome Go sing how our troup was the first in war My long hair is braided O Lady Moon. Flos perpetuus rosarum I Stand Beside My Grave O am I dreaming still, there is no recording of the complete opera. Recorded excerpts include, the overture, on the album British Opera Overtures, performed by Victorian Opera Orchestra, Richard Bonynge, on, Somm Célèste SOMMCD0123. The aria My Long Hair is Braided, on the album The Power of Love, British Opera Arias, performed by Deborah Riedel, Australian Opera and Ballet Orchestra, Richard Bonynge, on, Melba 301082, CD. There was also a concert performance with piano accompaniment with the ensuing issue of a small number of CDs at the National Library of Ireland. The title of the CD is Gems of Irish Opera vol and it contains the duet O Lady Moon, performed by Aoife OSullivan, Dean Power, Una Hunt. Arundale, David, Recording Review, Power of Love, British Opera Arias, MusicWeb International, beale, Robert, Charles Hallé, a musical life, Ashgate Publishing, Ltd
7. Die beiden Neffen – Die beiden Neffen, also known as Der Onkel aus Boston, is a three-act Singspiel by Felix Mendelssohn to a libretto by Johann Ludwig Casper. Die beiden Neffen was written by between May 1822 and 1823, during which time Mendelssohn celebrated his fourteenth birthday, the libretto was by Casper who had provided books for his three previous Singspiels, Die Soldatenliebschaft, Die beiden Pädagogen and Die wandernden Komödianten. Die beide Neffen was the last of their collaborations and these pieces were designed for performance within the family circle at the musical gatherings regularly organised by Felixs father Abraham Mendelssohn. Die beiden Neffen was performed in the house of the Mendelssohn family on or around Felixs 15th birthday. The dialogue for the act has been lost, but has been reconstructed, enabling the first modern performances, on 3 October 2004. There is also a CD recording conducted by Helmuth Rilling, baron von Felsig has returned unexpectedly from New England. The consequent problems of mistaken identities and misunderstandings fill out an undistinguished storyline leading to a happy ending. Zychowitz, Mendelssohn Bartholdy, Der Onkel aus Boston, Opera Today,30 September 2005 Helmuth Rilling conducts the overture to Der Onkel aus Boston Extract from 1st act of same performance
8. Charlotte Salomon (opera) – Charlotte Salomon is an opera by Marc-André Dalbavie. The libretto is by Barbara Honigmann who based much of it on Charlotte Salomons autobiographical, the opera was first performed at the Salzburg Festival on July 28,2014. Is of an artist fashioning her own life into an artistic creation, Dalbavie said that the intrinsically musical and even cinematic qualities of Leben. Combined with an attraction to real-life drama inspired him to compose an opera based on Charlotte Salomon, since Salomon was aiming for a form of communication that combined various arts, Dalbalvie felt that her story needed music. He was quoted as saying She recreated her life through a work of art, the opera includes a character representing the author Charlotte Salomon, and also her fictive creation, named Charlotte Kann. While the opera is sung in French, the character named Charlotte Salomon comments on the action in German, by the end of the opera, the languages are reversed, representing the integration of the artist her subject. Dalbavies orchestrations derives from his analysis of the human voices acoustic frequencies, Dalbavie described the scoring of the opera—for 65 orchestral musicians —as one designed not as much for dramatic impact as for maximum tonal richness. Charlotte Salomon is in two acts and an epilogue and it was first performed at the Salzburg Festival on July 28,2014, where it was directed by Luc Bondy. The production involved twenty projections of Salomons artwork
9. Death in Venice (opera) – Death in Venice is an opera in two acts by Benjamin Britten, his last. The opera is based on the novella Death in Venice by Thomas Mann, myfanwy Piper wrote the English libretto. It was first performed at Snape Maltings, near Aldeburgh, England, the astringent score is marked by some haunting soundscapes of ambiguous Venice. The boy Tadzio is portrayed by a silent dancer, to gamelan-like percussion accompaniment, the music of the opera is precise, direct and movingly understated. Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Viscontis 1971 film and this contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Ian Bostridge has noted themes in the work of formalism in art, place, Venice and Munich Time,1911 Scene 1, Munich Aschenbach, a famous German novelist, is weary and opens the opera bemoaning the fading of his artistic inspiration. As he walks through the suburbs of Munich, he stops before the entrance to a cemetery and he catches sight of a traveller and, musing on the strange and exotic nature of foreign lands, is impulsively moved to travel south in the hope of refreshing his artistic imagination. Scene 2, On the Boat to Venice He takes a boat to Venice, sharing his passage with a group of youths and their leader. Aschenbachs discovery that the fop is not young, but old and made-up repulses him, overture, Venice Scene 3, The Journey to the Lido Aschenbach contemplates his arrival by gondola into the city. He intends to go to the Schiavone, but is taken towards the Lido by the Old Gondolier, a brief argument as to their destination ensues, but the novelist soon capitulates and is taken to the Lido. Scene 4, The First Evening at the Hotel Aschenbach is greeted by the Hotel Manager, as the other guests assemble for dinner, Aschenbach watches them pass. His eye is taken by a young Polish boy, Tadzio, Aschenbach is aware of the fatuousness of his thoughts, but allows himself to indulge in his speculations. Scene 5, On the Beach Reading on the beach, Aschenbach observes Tadzio playing on the sands and he obtains a wry satisfaction from the discovery that Tadzio has flaws, as a Pole, the boy hates the Russian guests. Scene 6, The Foiled Departure Walking the streets of Venice, Aschenbach is accosted at every turn by beggars, seeing rubbish on the streets and smelling the foul water of the canals, he feels nauseated and claustrophobic, and decides that he must leave Venice. Back at the hotel, the Manager expresses his regret over Aschenbachs departure, when Tadzio returns Aschenbachs glances, Aschenbach himself also feels regret. On arriving at the station, Aschenbach finds that his luggage has been sent on the wrong train, Scene 7, The Games of Apollo Aschenbach sits in his chair on the Lido beach, watching Tadzio and his friends play. Aschenbachs thoughts are of the gods Phaedra, Apollo and Hyacinthus, the boys compete in a variety of sports, running, long jump, discus, javelin and wrestling
10. Ernani – Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo. As musicologist Roger Parker notes, the composer intervened on several important points, Ernani was first performed on 9 March 1844 and it was immensely popular, and was revived countless times during its early years. It became Verdis most popular opera until it was superseded by Il trovatore after 1853, in 1904 it became the first opera to be recorded completely. Following the success of both Nabucco and I Lombardi, Verdi was approached by many companies wanting to commission him to write an opera for their houses. However, the composer was only willing to accept the terms which he proposed,12,000 Austrian lire to be paid after the first performance, in addition, he had the right to choose the singers from the assembled company for that season. Several subjects came to Verdis attention, for example, Byrons The Corsair was considered, However, both of these subjects were to become later Verdi operas, Il corsaro and I due Foscari. An unsolicited manuscript from the unknown Francesco Piave proposed an opera, Cromwell, based on Victor Hugos play, the idea for Hernani The Cromwell libretto arrived from Piave in pieces, and Verdi put it away until he had the complete version to work from. However, when the composer and La Fenices president met in Venice in late August and he continues, But oh, if only we could do Hernani instead that would be tremendous. I know that it would mean a great deal of trouble for the poet but my first task would be to try, all he would have to do would be to condense and tighten up, the action is already there ready made, and its all immensely good theatre. Tomorrow Ill write at length to Piave setting out all the scenes from Hernani which seem to me suitable, at this point he continues with suggestions for the poet. Setting the play as the opera, Ernani However, Piave was not at all pleased by this turn of events and felt that an opera based on Hernani could not be staged for reasons of censorship. For instance, the Kings first appearance in the play is from a cupboard where he has been hiding since some time after his arrival, thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king would ever be allowed to hide in a cupboard, but the La Fenice directorate did approve the concept and the librettist was offered compensation, although he saved his Allan Cameron in reserve in case of mishap. For Budden, this marks a new outlook in Italian opera, because this would never have occurred to either Rossini or Donizetti, for whom plots were interchangeable. Although Verdi had agreed to try to accommodate the contralto Carolina Vietti when the opera was Allan Cameron, thus it became a comprimario role, one to be sung by a second-rung singer in the company. But, as Budden notes, Verdis difficulties with singers were not yet over, the season opened with I Lombardi in December 1843. It was a disaster, with singing from the tenor Domenico Conti. Two other operas early in the 1843/44 season were equally poorly received, Verdi then engaged a member of the chorus, the bass Antonio Selva who went on to a distinguished career