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Der Rosenkavalier
(''The Knight of the Rose'' or ''The Rose-Bearer''), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from the novel ''Les amours du chevalier de Faublas'' by Louvet de Couvrai and Molière's comedy '' Monsieur de Pourceaugnac''. It was first performed at the Königliches Opernhaus in Dresden on 26 January 1911 under the direction of Max Reinhardt, Ernst von Schuch conducting. Until the premiere, the working title was ''Ochs auf Lerchenau''. (The choice of the name Ochs is not accidental, for in German "Ochs" means "ox", which describes the character of the Baron throughout the opera.) The opera has four main characters: the aristocratic Marschallin; her very young lover, Count Octavian Rofrano; her brutish cousin Baron Ochs; and Ochs' prospective fiancée, Sophie von Faninal, the daughter of a rich bourgeois. At the Marschallin's suggestion, Octavian acts as Ochs' ''Rosenkavalier'' by pre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as '' Singspiel'' and '' Opéra comique''. In traditional number opera, singers employ two st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bourgeois
The bourgeoisie ( , ) is a social class, equivalent to the middle or upper middle class. They are distinguished from, and traditionally contrasted with, the proletariat by their affluence, and their great cultural and financial capital. They are sometimes divided into a petty (), middle (), large (), upper (), and ancient () bourgeoisie and collectively designated as "the bourgeoisie". The bourgeoisie in its original sense is intimately linked to the existence of cities, recognized as such by their urban charters (e.g., municipal charters, town privileges, German town law), so there was no bourgeoisie apart from the citizenry of the cities. Rural peasants came under a different legal system. In Marxist philosophy, the bourgeoisie is the social class that came to own the means of production during modern industrialization and whose societal concerns are the value of property and the preservation of capital to ensure the perpetuation of their economic supremacy in soc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Scala
La Scala (, , ; abbreviation in Italian of the official name ) is a famous opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the ' (New Royal-Ducal Theatre alla Scala). The premiere performance was Antonio Salieri's '' Europa riconosciuta''. Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres globally. It is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy ( it, Accademia Teatro alla Scala, links=no), which offers professional training in music, dance, stagecraft, and stage management. Overview La Scala's season opens on 7 December, Saint Ambrose's Day, the feast day of Milan's patron saint. All performances must end bef ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Waltz
The waltz ( ), meaning "to roll or revolve") is a ballroom and folk dance, normally in triple ( time), performed primarily in closed position. History There are many references to a sliding or gliding dance that would evolve into the waltz that date from 16th-century Europe, including the representations of the printmaker Hans Sebald Beham. The French philosopher Michel de Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas (of approximately the same period) wrote, "Now they are dancing the godless ''Weller'' or ''Spinner''."Nettl, Paul. "Birth of the Waltz." In ''Dance Index'' vol 5, no. 9. 1946 New York: Dance Index-Ballet Caravan, Inc. pages 208, 211 "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, uses his surplus energy to press all his strength into the proper beat of the bar, thus intensifying his personal enjoyment in dancing." Around 1750 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Breeches Role
A breeches role (also pants role or trouser role, or Hosenrolle) is one in which an actress appears in male clothing. Breeches, tight-fitting knee-length pants, were the standard male garment at the time these roles were introduced. The theatrical term '' travesti'' covers both this sort of cross-dressing and also that of male actors dressing as female characters. Both are part of the long history of cross-dressing in music and opera and later in film and television. In opera, a breeches role refers to any male character that is sung and acted by a female singer. Most often the character is an adolescent or a very young man, sung by a mezzo-soprano or contralto. Budden J., "Breeches part" in: ''The New Grove Dictionary of Opera''. Macmillan, London and New York, 1997. The operatic concept assumes that the character is male, and the audience accepts him as such, even knowing that the actor is not. Cross-dressing female characters (e.g., Leonore in '' Fidelio'' or Gilda in Act II ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eva Von Der Osten
Eva Helga Bertha von der Osten (19 August 1881 – 5 May 1936) was a German soprano. Biography She was born in Helgoland, the daughter of actor (1847–1905) and Rosa von der Osten-Hildebrandt (1850–1911). Von der Osten debuted in 1902 at the Dresdner Hofoper and performed there regularly until the end of her career. She was a favorite of the Dresden opera-going public and sang many of the most important roles of the soprano repertory. Von der Osten also was active as an opera director and served in that capacity for the premiere performance of Richard Strauss’s ''Arabella''. She created the role of Octavian in Strauss' ''Der Rosenkavalier''. Von der Osten’s career led to guest appearances in many of Europe’s leading opera houses. From 1923 to 1924, she found great success in the female roles of Richard Wagner—particularly that of Isolde in ''Tristan und Isolde''—while touring with director Leo Blech’s “German Opera Company” in North America. When she retire ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minnie Nast
Minnie Nast (10 October 1874 – 20 June 1956) was a German soprano. She was born in Karlsruhe and studied at the Karlsruhe Conservatory, making her début at Aachen in 1897. Nast performed in Dresden from 1898 to 1919 and then taught singing there until the bombing of the city in 1945 during World War II. She also toured in Canada, the United States, Russia, the Netherlands, and England. After the 1907 winter season, a shipwreck cost many of the opera company their lives and made her decide never to tour overseas again. Nast specialized in light and soubrette roles, especially Mozart, and she created the part of Sophie in '' Der Rosenkavalier'' in 1911. Her clear tone and lack of continuous vibrato were echoed by other sopranos of the period. She made some recordings which indicate high technical accomplishment, including her part in the trio from ''Der Rosenkavalier''. She also sang the part of Micaëla in the first recording of ''Carmen''. Nast died in Füssen Füssen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elektra (opera)
''Elektra'', Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama ''Elektra''. The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Königliches Opernhaus in Dresden on 25 January 1909. It was dedicated to his friends Natalie and Willy Levin. History While based on ancient Greek mythology and Sophocles' tragedy ''Electra'', the opera is highly modernist and expressionist in style. Hofmannsthal's and Strauss's adaptation of the story focuses tightly on Elektra, thoroughly developing her character by single-mindedly expressing her emotions and psychology as she meets with other characters, mostly one at a time. (The order of these conversations closely follows Sophocles' play.) The other characters are Klytaemnestra, her mother and one of the murderers of her father Agamemnon; her sister, Chrysothemis; her brother, Orestes; and Klyta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Margarethe Siems
Margarethe Siems (20 December 1879 – 13 April 1952) was a German operatic dramatic coloratura soprano and voice teacher. A Kammersängerin of the Dresden State Opera, between 1909 and 1912 Siems created leading roles in three operas by Richard Strauss: Chrysothemis in '' Elektra'', the Marschallin in '' Der Rosenkavalier'', and Zerbinetta in '' Ariadne auf Naxos''. Biography Margarethe Siems was born in Breslau (now Wrocław). After early training in piano and violin, she studied singing at the Dresden Conservatory with the Hungarian soprano, Aglaja Orgeni, who had herself been a pupil of Pauline Viardot and Mathilde Marchesi. She made her opera début at the Neues deutsches Theatre, Prague in 1902 as Marguerite de Valois in Meyerbeer's '' Les Huguenots'' and became a member of the Dresden State Opera in 1908. At Dresden she sang in the premieres for both ''Elektra'' as Chrysothemis (1909) and ''Der Rosenkavalier'' as the Marschallin (1911). Strauss considered her his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elektra (opera)
''Elektra'', Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama ''Elektra''. The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Königliches Opernhaus in Dresden on 25 January 1909. It was dedicated to his friends Natalie and Willy Levin. History While based on ancient Greek mythology and Sophocles' tragedy ''Electra'', the opera is highly modernist and expressionist in style. Hofmannsthal's and Strauss's adaptation of the story focuses tightly on Elektra, thoroughly developing her character by single-mindedly expressing her emotions and psychology as she meets with other characters, mostly one at a time. (The order of these conversations closely follows Sophocles' play.) The other characters are Klytaemnestra, her mother and one of the murderers of her father Agamemnon; her sister, Chrysothemis; her brother, Orestes; and Klytae ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Salome (opera)
''Salome'', Opus number, Op. 54, is an opera in one act by Richard Strauss. The libretto is Hedwig Lachmann's German translation of the 1891 French play ''Salome (play), Salomé'' by Oscar Wilde, edited by the composer. Strauss dedicated the opera to his friend Edgar Speyer, Sir Edgar Speyer. The opera is famous (at the time of its premiere, infamous) for its "Dance of the Seven Veils". The final scene is frequently heard as a concert-piece for dramatic sopranos. Composition history Oscar Wilde originally wrote his ''Salomé'' in French. Strauss saw the Lachmann version of the play in Max Reinhardt's production at the Kleines Theater in Berlin on 15 November 1902, and immediately set to work on an opera. The play's formal structure was well-suited to musical adaptation. Wilde himself described ''Salomé'' as containing "refrains whose recurring ''motifs'' make it so like a piece of music and bind it together as a ballad". Strauss pared down Lachmann's German text to what he saw ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Feuersnot
' (''Need for (or lack of) fire)'', Op. 50, is a ''Singgedicht'' (sung poem) or opera in one act by Richard Strauss. The German libretto was written by Ernst von Wolzogen, based on J. Ketel's report "Das erloschene Feuer zu Audenaerde". It was Strauss' second opera. Thematically, the opera has been interpreted as a parody of Richard Wagner's idea of "redemption through love", with the character of Kunrad representing Strauss himself. The conceptual framework for the opera stems from the Nietzschean perspective that had inspired Strauss in his tone poems ''Till Eulenspiegel'' and ''Also sprach Zarathustra''. Strauss and von Wolzogen shared the view that the source of inspiration was material not transcendental: in ''Feuersnot'' it is "redemption through sex" which relights the creative fire. Performance history The librettist for the opera was Ernst von Wolzogen, who in 1901 founded the Überbrettl venue (German for "over cabaret, super-cabaret"), the start of the German Kaba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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