1.
Opera
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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
Opera
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The performers from the Atlanta Opera sing the finale of
Lucia di Lammermoor. The
opera orchestra is visible in the lowered area in front of the stage.
Opera
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The
Palais Garnier of the
Paris Opéra, one of the world's most famous
opera houses.
Opera
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Claudio Monteverdi
Opera
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George Frideric Handel, 1733
2.
Ermanno Wolf-Ferrari
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Ermanno Wolf-Ferrari was an Italian composer and teacher. He is best known for his comic operas such as Il segreto di Susanna, a number of his works were based on plays by Carlo Goldoni, including Le donne curiose, I quatro rusteghi and Il campiello. Ermanno Wolf-Ferrari was born in Venice in 1876, the son of German painter August Wolf and Emilia Ferrari and he added his mothers maiden-name, Ferrari, to his surname in 1895. Although he studied piano from an age, music was not the primary passion of his young life. As a teenager Wolf-Ferrari wanted to be a painter like his father, he studied intensively in Venice and Rome and it was there that he decided to concentrate instead on music, taking lessons from Josef Rheinberger. He enrolled at the Munich conservatory and began taking counterpoint and composition classes and these initially casual music classes eventually completely eclipsed his art studies, and music took over Wolf-Ferrari’s life. He wrote his first works in the 1890s, at age 19, Wolf-Ferrari left the conservatory and traveled home to Venice. There he worked as a conductor, married, had a son called Federico Wolf-Ferrari. In 1900, having failed to have two previous efforts published, Wolf-Ferrari saw the first performance of one of his operas, Cenerentola, the opera was a failure in Italy, and the humiliated young composer moved back to Munich. Wolf-Ferrari now began transforming the wild and witty farces of the 18th-century Venetian playwright Carlo Goldoni into comic operas, the resulting works were musically eclectic, melodic, and utterly hilarious, every single one became an international success. In fact, until the outbreak of World War I, Wolf-Ferrari’s operas were among the most performed in the world, in 1902 he became professor of composition and director of the Liceo Benedetto Marcello. In 1911 Wolf-Ferrari tried his hand at full-blooded Verismo with I gioielli della Madonna and it was quite popular in its day and for a period after, especially in Chicago, where the great Polish soprano Rosa Raisa made it a celebrated vehicle. Maria Jeritza triumphed in it at the Metropolitan Opera, in a spectacular production in 1926. World War I, however, was a nightmare for Wolf-Ferrari, the young composer, who had been dividing his time between Munich and Venice, suddenly found his two countries at war with each other. With the outbreak of the War, he moved to Zurich and composed much less, though he wrote another comedy. A new melancholy vein appeared in his work, his operas grew darker. He did not really pick up his rate of output until the 1920s, when he wrote Das Himmelskleid and Sly, in 1939 he became professor of composition at the Mozarteum in Salzburg. In 1946 he moved again to Zürich before returning to his city of Venice
Ermanno Wolf-Ferrari
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Wolf-Ferrari circa 1906
Ermanno Wolf-Ferrari
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Bust of Wolf-Ferrari in the Wolf-Ferrari-Haus,
Ottobrunn
Ermanno Wolf-Ferrari
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Wolf-Ferrari's grave in the
San Michele cemetery.
3.
National Theatre Munich
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The National Theater on Max-Joseph-Platz in Munich, Germany is a historic opera house, home of the Bavarian State Opera, Bavarian State Orchestra and the Bavarian State Ballet. The first theatre was commissioned in 1810 by King Maximilian I of Bavaria because the nearby Cuvilliés Theatre had too little space and it was designed by Karl von Fischer, with the 1782 Odéon in Paris as architectural precedent. Construction began on 26 October 1811 but was interrupted in 1813 by financing problems, in 1817 a fire occurred in the unfinished building. Coincidentally the Paris Odéon itself burned down in 1818, designed by Leo von Klenze, the second theater incorporated Neo-Grec features in its portico and triangular pediment and an entrance supported by Corinthian columns. In 1925 it was modified to create a stage area with updated equipment. The building was gutted in an air raid on the night of 3 October 1943, the third and present theatre recreates Karl von Fischers original neo-classical design, though on a slightly larger,2, 100-seat scale. The magnificent royal box is the center of the interior rondel, the new stage covers 2,500 square metres, and is thus the worlds third largest, after the Opéra Bastille in Paris and the Grand Theatre, Warsaw. Through the consistent use of wood as a material, the auditorium has excellent acoustics. Architect Gerhard Moritz Graubner closely preserved the look of the foyer. It opened on 21 November 1963 with a performance of Die Frau ohne Schatten under the baton of Joseph Keilberth. Two nights later came the first public performance, of Die Meistersinger von Nürnberg, during its early years, the National Theatre saw the premières of a significant number of operas, including many by German composers. During the latter part of the 19th century, it was Richard Strauss who would make his mark on the theatre in the city in which he was born in 1864. After accepting the position of conductor for a time, Strauss returned to the theatre to become principal conductor from 1894 to 1898. In the pre-War period, his Friedenstag and Capriccio were premièred in Munich, in the post-War period, the house has seen significant productions and many world premieres. The list refers only to those premieres of the Bavarian State Opera staged in the National Theatre, the Bavarian State Opera had additional premieres also in other theatres. The Bayerisches Staatsballett had also premieres in the National Theatre
National Theatre Munich
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National Theatre, Munich
National Theatre Munich
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Königsbau of the
Munich Residenz (left) and National Theatre (right), photographed by Joseph Albert (1860)
National Theatre Munich
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National Theatre, around 1900
National Theatre Munich
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Deutsche Bundespost stamp, West Germany, 1964)
4.
Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
Munich
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From left to right: The
Munich Frauenkirche, the
Nymphenburg Palace, the
BMW Headquarters, the
New Town Hall, the
Munich Hofgarten and the
Allianz Arena.
Munich
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Munich city
coat of arms
Munich
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Banners with the colours of Munich (left) and Bavaria (right) with the
Frauenkirche in the background
Munich
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Bombing damage to the Altstadt. Note the roofless and pockmarked Altes Rathaus looking up the Tal. The roofless Heilig-Geist-Kirche is on the right of the photo. Its spire, without the copper top, is behind the church. The Talbruck gate tower is missing completely.
5.
Libretto
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A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. Libretto, from Italian, is the diminutive of the word libro, sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the book. In rare cases, the composer writes everything except the dance arrangements - music, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose
Libretto
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Cover of a 1921 libretto for Giordano's
Andrea Chénier
Libretto
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The composer of
Cavalleria rusticana,
Pietro Mascagni, flanked by his librettists,
Giovanni Targioni-Tozzetti and
Guido Menasci.
Libretto
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Pages from an 1859 libretto for
Ernani, with the original Italian lyrics, English translation and musical notation for one of the arias.
Libretto
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Henry Purcell (1659–1695) whose operas were written to English libretti.
6.
Max Kalbeck
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Max Kalbeck was a German writer, critic and translator. He became one of the most influential critics in Austria and was opposed to the music of Richard Wagner, Anton Bruckner. Kalbeck was born in Breslau and studied music in Munich, in 1875 he became the music-critic for the Schlesische Zeitung and assistant director of the Breslau Museum. He came to Vienna in 1880 on the invitation of Eduard Hanslick, first as critic of the Allgemeine Zeitung and then, from 1886 till his death, Kalbeck was a close friend and partisan of Johannes Brahms. Kalbecks principal achievement was his biography of that composer, published from 1904 to 1914. Kalbeck also edited several volumes of Brahmss correspondence and in 1918, in addition, he supplied lyrics for the songs in the operetta Jabuka by Johann Strauss II, the dialogue and plot being the work of Gustav Davis. Kalbeck also wrote poetry and Brahms set a few of his verses to music as songs and he died in Vienna in 1921, aged 71, Works by or about Max Kalbeck at Internet Archive Works by or about Max Kalbeck in libraries
Max Kalbeck
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Max Kalbeck.
7.
Felix Mottl
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Felix Josef von Mottl was an Austrian conductor and composer. He was regarded as one of the most brilliant conductors of his day and he composed three operas, of which Agnes Bernauer was the most successful, as well as a string quartet and numerous songs and other music. His orchestration of Richard Wagners Wesendonck Lieder is still the most commonly performed version and he was also a teacher, and his pupils included Ernest van Dyck and Wilhelm Petersen. Mottl was born in Unter Sankt Veit, today Hietzing, Vienna in 1856 and his date of birth has been reported variously as 29 July,24 August, and 29 August. After early voice training at the Löwenburg Konvikt, a school for the Imperial Court Chapel. From 1881 to 1903 he was conductor at the Karlsruhe Opera and was widely renowned for his work there, particularly in Wagner, Berlioz and Chabrier. He also orchestrated Chabriers Bourrée fantasque and Trois valses romantiques, in later years, as a conductor of Wagner especially, he visited London and New York, guest-conducting the Metropolitan Opera in 1903. He was made a director of the Akademie der Künste at Berlin in 1904, in June 1907 he cut some player piano rolls with Welte-Mignon, including his own piano transcription of the Prelude, the Love Duet and Brangänes Warning from Tristan. He suffered an attack on 21 June 1911 while conducting his 100th performance of Tristan in Munich. He was taken to a hospital where he died 11 days later on 2 July, aged 54, but not before marrying his longtime mistress and his grave monument was made by Fritz Behn. Frithjof Haas, Der Magier am Dirigentenpult, info Verlag,2006, ISBN 3-88190-424-7 This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Mottl, Felix. Felix Mottl today playing his 1907 interpretations, selected works by Richard Wagner, The Welte-Mignon Mystery Vol. II Free scores by Felix Mottl at the International Music Score Library Project
Felix Mottl
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Contents
8.
Soprano
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A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre
Soprano
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Soprano voice range (C4–C6) indicated in sheet music (left) and on piano keyboard in green with dot marking middle C.
9.
Baritone
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A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice, the baritone voice type is generally divided into the baryton-Martin baritone, lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone. The first use of the term baritone emerged as baritonans, late in the 15th century, at this early stage it was frequently used as the lowest of the voices, but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range as it is today at the beginning of the 18th century. Indeed, many works of the 18th century have roles marked as bass that in reality are low baritone roles. Examples of this are to be found, for instance, in the operas, the greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and these included the likes of Filippo Galli, Giovanni Inchindi, and Henri-Bernard Dabadie. The basse-taille and the bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato-dominated opera seria of the previous century and it led to the baritone being viewed as a separate voice category from the bass. More often than not, however, baritones found themselves portraying villains, the principal composers of bel canto opera are considered to be, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, and the young Giuseppe Verdi. Figaro in Il barbiere is often called the first true baritone role, however, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini and he was a famous Don Giovanni in Mozarts eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, Tamburinis range, however, was probably closer to that of a bass-baritone than to that of a modern Verdi baritone. His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he originated the role of Belcore in Lelisir damore in 1832, the most important of Tamburinis Italianate successors were all Verdians. In France, Paul Barroilhet succeeded Dabadie as the Paris operas best known baritone, like Dabadie, he also sang in Italy and created an important Donizetti role, in his case, Alphonse in La favorite. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I, reveling in comic roles by Rossini, Donizetti and Paer. In 1893, he created the part of Ford in Verdis last opera, notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle, Victor Maurel, Paul Lhérie, and Maurice Renaud
Baritone
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Baritone voice range (A2–A4) indicated in sheet music (left) and on piano keyboard in green with dot marking middle C (C4).
10.
Giuseppe Valdengo
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Giuseppe Valdengo was an Italian operatic baritone. Valdengo first studied the cello and oboe before turning to studies with Accoriti in his native Turin. He made his debut as Figaro in Il barbiere di Siviglia. Shortly thereafter he made his Teatro alla Scala debut, as Germont in La traviata and he was drafted into military service in 1939 by the Italian government and did not appear on the stage for the next three years. His opera career recommenced in 1942 with a performance of Marcello in La bohème at Parma. Valdengo made his American debut at the New York City Opera as Sharpless in Madama Butterfly in 1946 and he remained on that companys roster through the spring 1948 season, singing the title role in Rigoletto, Tonio in Pagliacci, Escamillo in Carmen and Giorgio Germont in La Traviata. In September 1947 he made his San Francisco Opera debut as Valentin, Valdengo first appearance at the Metropolitan Opera was on December 19,1947 as Tonio with Licia Albanese as Nedda and Raoul Jobin as Canio. His final and 121st performance at the Met was as Germont on January 27,1954 with Jean Fenn as Violetta, during the 1950s Valdengo sang in most of the principal European opera houses, most often portraying roles from the Verdi baritone repertory. He also sang Captain Balstrode in Peter Grimes at the Rome Opera and he also sang in other American houses. In 1953 he made his debut with the Philadelphia Grand Opera Company as Iago in Verdis Otello, returning there to sing Sharpless, Valentin and he retired from the stage in 1966 and taught in Turin. He published his autobiography Ho cantato con Toscanini in 1962, Valdengo may be best-remembered for his NBC radio broadcasts of Otello, Aida, and Falstaff, with Arturo Toscanini conducting. The Toscanini Aida was simulcast on television and radio, one of the first instances of such an event, and the telecast has been released on both VHS and DVD. Valdengo appeared in one film, MGMs The Great Caruso, starring Mario Lanza in the title role, obituary Giuseppe Valdengo in an excerpt from Aïda on YouTube
Giuseppe Valdengo
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Contents
11.
Royal Opera House, Covent Garden
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The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is referred to as simply Covent Garden. It is the home of The Royal Opera, The Royal Ballet, originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented, a year later, Handels first season of operas began. Many of his operas and oratorios were written for Covent Garden and had their premieres there. The current building is the theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, the main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high, the main auditorium is a Grade I listed building. The letters patent remained in the possession of the patentees heirs until the 19th century, in 1728, John Rich, actor-manager of the Dukes Company at Lincolns Inn Fields Theatre, commissioned The Beggars Opera from John Gay. In addition, a Royal Charter had created a fruit and vegetable market in the area, at its opening on 7 December 1732, Rich was carried by his actors in processional triumph into the theatre for its opening production of William Congreves The Way of the World. Despite the frequent interchangeability between the Covent Garden and Drury Lane companies, competition was intense, often presenting the plays at the same time. Rich introduced pantomime to the repertoire, himself performing and a tradition of seasonal pantomime continued at the modern theatre, in 1734, Covent Garden presented its first ballet, Pygmalion. Marie Sallé discarded tradition and her corset and danced in diaphanous robes, george Frideric Handel was named musical director of the company, at Lincolns Inn Fields, in 1719, but his first season of opera, at Covent Garden, was not presented until 1734. His first opera was Il pastor fido followed by Ariodante, the première of Alcina, there was a royal performance of Messiah in 1743, which was a success and began a tradition of Lenten oratorio performances. From 1735 until his death in 1759 he gave regular seasons there and he bequeathed his organ to John Rich, and it was placed in a prominent position on the stage, but was among many valuable items lost in a fire that destroyed the theatre on 20 September 1808. In 1792 the architect Henry Holland rebuilt the auditorium, within the shell of the building but deeper and wider than the old auditorium. Rebuilding began in December 1808, and the second Theatre Royal, the Old Price Riots lasted over two months, and the management was finally forced to accede to the audiences demands. During this time, entertainments were varied, opera and ballet were presented, kemble engaged a variety of acts, including the child performer Master Betty, the great clown Joseph Grimaldi made his name at Covent Garden
Royal Opera House, Covent Garden
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The Royal Opera House, Bow Street frontage with
Plazzotta 's statue, Young Dancer, in the foreground
Royal Opera House, Covent Garden
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"Rich's Glory": John Rich takes over (seemingly invades) his new Covent Garden Theatre. (A caricature by
William Hogarth)
Royal Opera House, Covent Garden
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A satirical drawing from 1811 of the "Pigeon Holes" that flanked the upper gallery at Covent Garden
Royal Opera House, Covent Garden
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A picture of the first theatre drawn shortly before it burned down in 1808
12.
Renata Scotto
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Renata Scotto is an Italian soprano and opera director. She lives in Armonk, New York with her husband Lorenzo Anselmi, Renata Scotto was born in Savona, Italy. She made her debut in her home town on Christmas Eve of 1952 at the age of 18 in front of a sold-out house as Violetta in Verdis La traviata. The next day, she made her opera debut at the Teatro Nuovo in Milan as Violetta. Shortly after, she performed in her first Puccini opera, Madama Butterfly, both roles would later become closely associated with her name. In 1953, Scotto auditioned at La Scala for the role of Walter in Catalanis La Wally with Renata Tebaldi, after her audition, one of the judges, the conductor Victor de Sabata, was heard to say, Forget about the rest. La Wally opened on 7 December 1953 and Scotto was called back for fifteen curtain calls, Tebaldi and Del Monaco each received seven. Scottos major breakthrough came in 1957, At the Edinburgh Festival, the production was so successful that the company added an additional performance. Callas however declined to perform due to illness, saying that she had appeared in the other performances against her doctors orders. Scotto, covering the role of Amina, replaced Callas on 3 September 1957, the performance was a great success, and the 23-year-old Scotto became an international opera star. In 1961 she performed Amina again at Venices La Fenice with tenor Alfredo Kraus with whom she shared the same teacher, Mercedes Llopart, during the 1960s she became one of the leading singers in the belcanto revival initiated by Callas during the 1950s. She sang Bellinis Zaira and La straniera, plus Giulietta in Bellinis I Capuleti e i Montecchi, Donizettis Maria di Rohan, Meyerbeers Robert le Diable and other repertoire rarities. In 1964 she performed with La Scala at the Bolshoi Theatre in Moscow and her American debut was as Mimì in La bohème at the Lyric Opera of Chicago in 1960, the same year she married violinist Lorenzo Anselmi. The couple has a daughter and a son, on 13 October 1965, Scotto made her Metropolitan Opera debut as Cio-Cio-San in Madama Butterfly. She went on to sing more than 300 performances in 26 roles at the Met through 1987, with Luciano Pavarotti she opened the series of Live from the Met telecasts in 1977 with Puccinis La bohème. During the following years she starred in the telecasts of Manon Lescaut, Luisa Miller, Don Carlo, Il trittico, Francesca da Rimini and as Desdemona with Jon Vickers in Verdis Otello. She also sang regularly at the San Francisco Opera, Chicago Lyric Opera, Dallas Opera, Royal Opera, London, Liceo, Barcelona, La Fenice, Venice, and Teatro Colón, Buenos Aires. In addition she appeared in Madrid, Genoa, Florence, Bologna, Trieste, Palermo, Roma, Berlin, Paris, Miami, Tokyo, Pittsburgh, in 1971, Scotto performed for a hostile audience for the first time in her career
Renata Scotto
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Renata Scotto in Milan in 1967
13.
Renato Bruson
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Renato Bruson is an Italian operatic baritone. Bruson is widely considered one of the most important Verdi baritones of the late 20th and he was born in Granze near Padua, Italy. Brusons passion for music matured in the choir when he was a child. He began his studies at the conservatory of Padua where he was awarded a scholarship that allowed him to attend the courses in the face of economic problems. He did not receive support from his family, who considered him a good-for-nothing. In his own words, They thought that I only wanted to study music because I had no desire to work, however, he could continue his studies with the help of the administration of the conservatory and the support of friends. Bruson made his debut as the Conte di Luna in Il trovatore at the Teatro Lirico Sperimentale in Spoleto in 1960. The following year he was Riccardo in I puritani at the Teatro dellOpera di Roma in Rome and his first Metropolitan Opera appearance was as Enrico in Lucia di Lammermoor in 1969. In 1970 he started his collaboration with conductor Riccardo Muti in Un ballo in maschera in Florence and he debuted at the Vienna State Opera in 1978 with Macbeth, with such a success that the prestigious Austrian theatre awarded him with the important title of Kammersänger. In the 1980s he turned to the 18th century with Mozarts Don Giovanni and he is considered by some critics the finest Rigoletto since Tito Gobbi. They appreciate his elegant and expressive phrasing, velvety tone, musical intelligence and he excels in long, lyrical lines. He is also appreciated for not disdaining smaller roles and for not assuming a divo attitude, Bruson once described himself in the following terms, I am self critic enough to understand what I can get at. He can be seen on commercial DVD in the role of Macbeth in a performance from the Deutsche Oper with Mara Zampieri, carlo Maria Giulini, I believe Renato Bruson now is the Falstaff. He has the wit, the intelligence, the dignity and, of course, giuseppe Sinopoli, Only the baritone Renato Bruson has a similar ability [to Mirella Freni) to make expression and word coincide, he explores it with all the semantic charge it contains. And this is not the result of an activity but is a privileged instinct. Music critic Christian Springer wrote of Bruson, Bruson was the quintessential Verdi baritone in the half of the last century. A Verdi baritone not as it was understood in the 1950s and 1960s, Tita Tegano – Renato Bruson,40 anni di Recitar cantando – Pantheon,2001, ISBN 88-7434-012-5 Tita Tegano – Renato Bruson, Linterprete e i personaggi – Azzali Editore,1998 Discography Biography
Renato Bruson
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Renato Bruson
Renato Bruson
14.
Philharmonia Orchestra
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The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall, the Philharmonia also has residencies at De Montfort Hall, Leicester, the Corn Exchange, Bedford, and The Anvil, Basingstoke. Esa-Pekka Salonen has been the principal conductor and artistic advisor since 2008. Helen Sprott is the current managing director, The Philharmonia Orchestra performs more than 160 concerts a year and tours widely. The orchestra was founded in 1945 by Walter Legge, as Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legges intention. After the war, opera resumed at Covent Garden under a different management and his contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonias first concert on 25 October 1945, more than sixty per cent of the players were officially in the services. Beecham conducted the concert, but as he refused to be Legges employee and Legge refused to control of the orchestra. Herbert von Karajan was closely associated with the Philharmonia in its early years, at first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name and he built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected director of the Berlin Philharmonic Orchestra. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, klemperers name became closely linked with the orchestra during an Indian summer of celebrated recordings. In 1959, Klemperer was named director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra, at a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. On 17 March 1964, the members of the orchestra elected their own governing body, the inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethovens Symphony No,9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, the orchestra gave many more live performances after it became self-governing than it had under Legges management
Philharmonia Orchestra
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Official Philharmonia Orchestra logo
15.
Le donne curiose
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Le donne curiose is an opera in three acts by Ermanno Wolf-Ferrari to a text by Luigi Sugana after Carlo Goldonis play. The first dramatic work by Wolf-Ferrari to achieve more than local notice, the first performance in Italian was in New York on 3 January 1912 with a distinguished cast led by Arturo Toscanini, including Geraldine Farrar and Hermann Jadlowker. Tullio Serafin conducted the first performance in Milan on 16 January 1913, the story is a comedy set in 18th-century Venice about two wives checking up on the goings-on at their husbands club. The artistic lineage of Le donne curiose is plainly traceable to Mozart, the orchestra is a relatively small one and in some respects the treatment harks back to an earlier day, when leading motives were less known. The music is distinguished by lyric simplicity and rhythmical variety, the prevailing character is improvisational, well adapted to the slight tale of harmless intrigue which it accompanies. There is no great emotional intensity, nor intellectual depth
Le donne curiose
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Ermanno Wolf-Ferrari
16.
I quatro rusteghi
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I quatro rusteghi is a comic opera in three acts, music by Ermanno Wolf-Ferrari to a text by Luigi Sugana and Giuseppe Pizzolato based on Carlo Goldonis 18th-century play I rusteghi. The opera is written in Venetian dialect, hence quatro instead of quattro, the opera was first performed, in German, at the Hoftheater in Munich on 19 March 1906. Its first performance in Italian was on 2 June 1914 at the Teatro Lirico in Milan under Ettore Panizza, the work was first performed in the United States by the New York City Opera on 19 October 1951 with Laszlo Halasz conducting. Wolf-Ferraris most successful work, it is still regularly performed. The action takes place in 18th century Venice, four curmudgeonly husbands vainly attempt to keep their women in order
I quatro rusteghi
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Ermanno Wolf-Ferrari
17.
I gioielli della Madonna
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I gioielli della Madonna is an opera in three acts by Ermanno Wolf-Ferrari to an Italian libretto by Carlo Zangarini and Enrico Golisciani, based on news accounts of a real event. It was first performed at the Kurfürstenoper in Berlin on 23 December 1911 under the title Der Schmuck der Madonna and that performance was in German, but now it is usually given in Italian. There is an extant recording of the opera, made in 1967, featuring Pauline Tinsley, Andre Turp and Peter Glossop and it was issued on CD - Bella Voce #107242. A new recording was released in 2016 on the Naxos label, the opera was given its Italian premiere in 1953. I gioielli della Madonna is not often performed today though it remains in the repertory, the third act intermezzo was for many years a popular concert piece. It was performed by Teatro Grattacielo in New York City in 2010, in 2013 it was performed in London at Opera Holland Park. The complete opera was revived May 2015 at the Slovak National Theatre, Bratislava, a square in Naples by the sea Carmela’s house, an inn, Biasos hut, and Gennaro’s smithy are visible. It is an afternoon during the festival of the Madonna. Downtown swarms with a crowd, celebrating the event in a carnival spirit. The chorus is divided into small groups, representing the various parts of the town. Many of them end up following a band, which has crossed the square, in his blacksmith shop, Gennaro is making a candalabra, placing it on the anvil reverentially, as on an altar. Maliella rushes out of her house, chased by Carmela, Maliella is a wilful girl, wanting to be rid of the tyranny of her household and wishing to throw herself into the life of the city. She strikes an attitude of bravado, singing her rebellious thoughts in the Song of Cannetella, the crowd gathers to hear her. From the direction of the sea comes the approaching chorus of the members of the Camorra, Maliella and the crowd dance wildly. When Carmela reappears with a pitcher of water on her head, Carmela tells her son how she vowed to the Madonna to seek an infant girl, born of sin, and adopt her, in order to help her sickly boy. She sings, In the open street I found her, there is a touching duet for mother and son, in which Carmela bids him go and pray to the Madonna, and Gennaro asks for her blessing, before he leaves to do so. Carmela then goes into the house, Maliella runs in, with the Camorrists after her. Rafaele is in pursuit, he being the leader of the band, when he advances to seize and kiss her, she draws out a hat pin
I gioielli della Madonna
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Ermanno Wolf-Ferrari
18.
Sly (opera)
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Unlike most of Wolf-Ferraris other operas, this is a tragedy. Many musicologists regard Wolf-Ferrari as having only one verismo opera. There are reasons to disagree, and to consider Sly not only as being, in ways, a verismo opera. In all these operas the singer was pre-eminent, while in German opera it was the composer and this is not to say that Sly was pure verismo --far from it, it is much more than that, and has many light-hearted elements of musical comedy in it. But that is only what can be expected from Wolf-Ferrari and his early successes had all been comedies. Not, of course, in the style of Rossini and Donizetti, and the influence of these earlier operas was to come shining through in Sly. In fact, the story of Sly can almost be regarded as what started out as a practical joke going sour. Thus, the first act is rather light hearted, and the real verismo elements do not come into play until the tragedy begins to unfold in the later acts, a few introductory comments about Italian operatic practices might be of interest at this point. During the nineteenth century, the houses in Northern Italy tended to have separate winter, spring, summer. But this slowly changed after the turn of the century, as early as 1913-14, the autumn, winter and spring seasons were frequently combined into one, at least at La Scala. Thus, the 1927-28 season opened on 16 November and lasted well into May, Sheridan had been ill much of the year, seemed to have recovered sufficiently to sign a contract with La Scala, but became ill again just days before the performance. A replacement had to be found, and it was necessary to postpone the opening until 29 December 1927, the work was successful, being given six times by 15 January and twice more in April. It had four performances in autumn 1928, with essentially the same cast. Musically, Sly is generally considered as being eclectic, especially in the first act. The act is essentially quite gay, many people revelling and arguing in a London tavern and its highlight is actually a set number, Slys song of the dancing bear, a theme that recurs throughout the opera. There are reminiscences of Kurt Weill, Wolf-Ferraris earlier comedies and many other composers, but, as the second act unfolds, some of the verismo aspects begin to become paramount, especially in the musical writing of the first duet between Sly and Dolly. Sly was first performed at La Scala in Milan on 29 December 1927 with Aureliano Pertile, the latter was a last minute replacement for Margaret Sheridan who became ill days before the performance. Turin heard Sly in February 1928, before the run at La Scala was finished, with the great Nino Piccaluga in the title role and Valeria Manna as Dolly
Sly (opera)
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Ermanno Wolf-Ferrari
19.
La vedova scaltra
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La vedova scaltra is an opera in three acts by Ermanno Wolf-Ferrari to a text by Mario Ghisalberti, after Carlo Goldonis original play first given in 1748. It was first performed at the Teatro Reale dellOpera in Rome on 5 March 1931, Director Gino Marinuzzi and it was revived in Venice, in celebration of the 300th anniversary of the birth of Carlo Goldoni, in February 2007. This performance, with Anne-Lise Sollied, Maurizo Muraro and Emanuele DAguanno as the soloists, has been recorded. The story is a comedy about a widow courted by four suitors of different nationalities. Conductor, Karl Martin Director, Massimo Gasparon Recording date,1 September 2008 Label, Naxos - Wolf-Ferrari, Anne-Lise Sollied, Henriette Bonde-Hansen, Francesco Piccoli, Orchestre National de Montpellier, Enrique Mazzola Accord Universal France. La vedova scaltra,5 March 1931, waterhouse, John C G, Vedova scaltra, La in The New Grove Dictionary of Opera, ed. Stanley Sadie ISBN 0-333-73432-7
La vedova scaltra
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Ermanno Wolf-Ferrari
20.
Il campiello
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Il campiello is an opera in three acts by Ermanno Wolf-Ferrari. The Italian-language libretto was by Mario Ghisalberti, after the comedy of the same name written for the 1756 Venetian Carnival by the great Venetian playwright. Referred to as a commedia lirica, it is an ensemble opera influenced by Mozart and it is concerned with the public lives of the volatile inhabitants of Venice and is sung in the local dialect. Il campiello was first performed at La Scala, Milan on 11 February 1936 under Gino Marinuzzi and it has remained in the Italian repertory and occasionally been performed abroad. The Fujiwara Opera gave the Japanese premiere in Tokyo in July 1978 and they revived it in July 2001 under Marco Titotto, including some Italian singers from the 1992 Trieste production. Throughout the opera the setting is the same, a small square, in one corner there is an inn where Astolfi, an amiable Neapolitan gentleman, spendthrift, and ladies man, is staying. In the houses around the inn live a number of single women, Gasparina is a comically pretentious young woman who lives with her bookish uncle Fabrizio, also a Neapolitan as it turns out. Luçieta, is a beauty in love with a haberdasher called Anzoleto. She lives with her mother Dona Cate, luçietas rival is another attractive girl called Gnese who lives with her mother Dona Pasqua. Both the mothers are comic roles played by men, Gnese is in love with a boy called Zorzeto who also lives in the square with his mother Orsola. Gasparina appears first, then Astolfi, they greet each other with mutual interest, Luçieta enters next, impatient because Anzoleto is late. Astolfi flirts with her as well, when Anzoleto appears peddling his haberdashery, the stranger offers to buy Luçieta a present and Anzoleto becomes jealous. Gnese appears, wanting to buy some needles or thread, Astolfi also offers to buy something for Gnese. He is delighted to find so many beautiful women all in one place, while Anzoleto is with Gnese, Astolfi renews his interest in Luçieta and encounters her mother Dona Cate. He offers Luçieta a ring which her mother deftly intercepts, while Gnese spurns his offer to pay for her purchases, Dona Pasqua and Orsola talk about the future marriage of their children, Gnese and Zorzeto. Luçieta and Gnese appear, quarrelling again, and then Zorzeto, Anzoleto challenges Astolfi who denies having designs on Luçieta. Anzoleto decides he must marry Luçieta as soon as possible - to her delight, Gasparina appears again and this time Astolfi has a long conversation with her, trying to find out, in spite of her dialect, if she is available. Luçieta, Gnese, Zorzeto and their three parents are having a party in the square to the annoyance of Fabrizio
Il campiello
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Ermanno Wolf-Ferrari
21.
Giovacchino Forzano
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Giovacchino Forzano was an Italian playwright, librettist, stage director, and film director. Forzano was born in Borgo San Lorenzo, in the province of Florence and he studied medicine before embarking on a brief career as an operatic baritone. He then began studying law and, after finishing his diploma, became a freelance journalist, in 1914 he met and befriended Giacomo Puccini who asked him to write the librettos for his Il trittico, a collection of three one-act operas. Forzano agreed to write the librettos for two of the works, Suor Angelica and Gianni Schicchi, but declined Il tabarro saying that he preferred to create his own plots, Il trittico premiered at the Metropolitan Opera on 14 December 1918 to high acclaim. In 1920 Forzano became a director at La Scala, serving in the capacity through 1930. During the 1920s he became one of the most successful and frequently performed dramatists of his day and he later became a producer and director of propaganda films for the National Fascist Party under Benito Mussolini. In 1957 he published a volume of memoirs, Come li ho conosciuti and he also participated in several filmed documentaries that recall his work on Gianni Schicchi with Puccini. Forzanos plays were light-weight, but extremely popular and he was one of the most frequently performed playwrights of the period and this eventually resulted in the composition of three plays, the joint authorship of which was never explicitly acknowledged in Italy, but which nonetheless was common knowledge. Following the Fall of Fascism Forzano was never able to free himself from this association and, consequently, never able to capture his former position, either as a dramatist or cultural figure
Giovacchino Forzano
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Giovacchino Forzano
22.
Ottobrunn
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Ottobrunn is a municipality southeast of Munich, Bavaria, Germany, founded in 1955. Ottobrunn consists of mainly semi-detached and detached houses, as well as extensive garden areas, Ottobrunn is also the German Headquarters of the European Aeronautic Defence and Space Company, with the majority of EADS grounds situated in the neighbouring community of Taufkirchen. According to the Federal Statistical Office of Germany, the municipality is the second-most densely populated in all of Germany, trailing only Munich, the towns center was established in the mid 1980s with the town hall and the community centre. The community centre was named after the German-Italian composer Ermanno Wolf-Ferrari who lived in Ottobrunn between 1915 and 1931 and it was originally situated exactly 12 km from the center of Munich, marking the exact spot on the route where Otto of Greeces father left his son. The column was moved, however,9 m southwest, to room for widening the Rosenheimer Landstrasse. Ottobrunn railway station Official Homepage Linux User Group Ottobrunn
Ottobrunn
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Saint Otto Church
Ottobrunn
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Coat of arms
Ottobrunn
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The Ottosäule
23.
Josef Rheinberger
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Josef Gabriel Rheinberger was an organist and composer, born in Liechtenstein and resident for most of his life in Germany. Josef Gabriel Rheinberger, whose father was the treasurer for Aloys II, Prince of Liechtenstein, when only seven years old, he was already serving as organist of the Vaduz parish church, and his first composition was performed the following year. In 1849, he studied with composer Philipp M. Schmutzer in Feldkirch, in 1851, his father, who had initially opposed his sons desire to embark on the life of a professional musician, relented and allowed him to enter the Munich Conservatorium. Not long after graduating, he became professor of piano and of composition at the same institution, when this first version of the Munich Conservatorium was dissolved, he was appointed répétiteur at the Court Theatre, from which he resigned in 1867. Rheinberger married his pupil, the poet and socialite Franziska Fanny von Hoffnaass in 1867. The couple remained childless, but the marriage was happy, Franziska wrote the texts for much of her husbands vocal work. The stylistic influences on Rheinberger ranged from contemporaries such as Brahms to composers from earlier times, such as Mendelssohn, Schumann, Schubert and, above all and he was also an enthusiast for painting and literature. In 1877 he was appointed court conductor, responsible for the music in the royal chapel and he was subsequently awarded an honorary doctorate by Ludwig Maximilian University of Munich. A distinguished teacher, he numbered many Americans among his pupils, including Horatio Parker, William Berwald, George Whitefield Chadwick, Bruno Klein, other students of his included important figures from Europe, Italian composer Ermanno Wolf-Ferrari, and German composers Humperdinck and Wilhelm Furtwängler. See, List of music students by teacher, R to S#Josef Rheinberger, when the second Munich Conservatorium was founded, Rheinberger was appointed Royal Professor of organ and composition, a post he held for the rest of his life. On 31 December 1892 his wife died, after suffering a long illness, two years later, poor health led him to give up the post of Court Music Director. His religious works include twelve Masses, a Requiem and a Stabat Mater and his other works include several operas, symphonies, chamber music, and choral works. Today Rheinberger is remembered above all for his elaborate and challenging organ compositions and his organ sonatas were once declared to be undoubtedly the most valuable addition to organ music since the time of Mendelssohn. They are characterized by a blending of the modern Romantic spirit with masterly counterpoint. Rheinberger died in 1901 in Munich, and was buried in the Alter Südfriedhof and his grave was destroyed during World War II, and his remains were moved to his home town of Vaduz in 1950. This list only mentions works that were assigned a number by Rheinberger himself. Sacred vocal works Cantatas, including the Christmas cantata Der Stern von Bethlehem, Op. g. g. Clarinet Sonata, Op. 105 in A major 4 piano sonatas Works for organ 2 organ concertos 20 organ sonatas 12 Fughettas, Op.12312 Monologues, Op.16212 Meditations, Op. Joseph Gabriel Rheinberger
Josef Rheinberger
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Josef Rheinberger
Josef Rheinberger
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Josef and Fanny
Josef Rheinberger
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Josef in his later years
24.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
