Franz Liszt, the great Hungarian composer whose daughter Cosima married Wagner in 1870, conducted the first performance of the three-act opera Lohengrin at the Court Theatre, Weimar on 28 August 1850. Wagner provided a blueprint for productions of Lohengrin, just as he did for Tannhäuser, and emphasized the duty of the stage manager not to leave ...
the Linz premiere of Tannhäuser, he first encountered – and was overwhelmed by – Wagner’s music. He later attended the premiere of Tristan in Munich in 1865 and of Lohengrin and The Flying Dutchman, and received Wagner’s approval to conduct the premiere of the finale to Die Meistersinger in 1868, prior to the opera’s first production. These years ...
b. 1924, German An outstanding mezzo-soprano recitalist and concert singer, Ludwig was the daughter of two singers: tenor Anton Ludwig, and contralto Eugenie Besalla-Ludwig, who sang under Herbert von Karajan. Forced into early retirement, Eugenie became her daughter’s voice coach. Making her debut at 18 as Prince Orlovsky in Frankfurt, Ludwig remained there until 1952 ...
stage and increased the role of the orchestra in building up the drama. Auber’s music was an important influence on the works of other composers, including Richard Wagner’s (1813–83) Lohengrin (1850). Introduction | Early Romantic | Opera Personalities | Ludwig van Beethoven | Early Romantic | Opera Techniques | French Grand Opéra | Early Romantic | Opera ...
1835–1900, German The German baritone Franz Betz made his debut in Hanover in 1856, singing the part of Heinrich in Wagner’s Lohengrin. Three years later, he was at the Hofoper in Berlin as Don Carlo in Verdi’s Ernani. He also sang Don Giovanni in Mozart’s opera, Amonasro in Verdi’s Aida and the title roles in Hans Heiling ...
loved the superb Court Opera house, and loved its great orchestra – the Vienna Philharmonic – for its responsiveness to his demands. The reviews of his Viennese debut with Lohengrin in 1897 were in agreement about his unprecedented grasp and power: ‘He noticed everything. He was in close and constant touch with the chorus, the orchestra and each individual; ...
London (1888–1900) and the Metropolitan Opera House, New York (1891–1901). Unfortunately, the versatility that enabled him to sing demanding parts within a few days of each other – Lohengrin and Faust, for example – overstrained his voice and forced him to retire in 1902. Introduction | High Romantic | Opera Personalities | Ferenc Erkel | High Romantic | ...
has sung not only the major Italian tenor roles – such as Verdi’s Don Carlo, Alfredo (La traviata), Cavaradossi (Puccini’s Tosca) and Pinkerton (Madama Butterfly) – but also Wagner’s Lohengrin (Bayreuth, 2010) and Parsifal (Metropolitan Opera, 2013). Introduction | Contemporary | Classical Personalities | Simon Keenlyside | Contemporary | Classical ...
roles, Ludwig Schnorr von Carolsfeld attracted Wagner’s attention, who considered his dramatically powerful voice ideal for tenor roles in his operas. Schnorr von Carolsfeld created a sensation as Lohengrin and another as Tannhäuser. When Tristan und Isolde premiered in Munich on 10 June 1865, Schnorr von Carolsfeld created the role of Tristan. Six weeks later, on 21 ...
orchestra and regularly attended rehearsals for the Munich court orchestra. In spite of his father’s attempts to ‘protect’ his son, Strauss had already heard Wagner’s Tannhäuser (1845) aged 10. Lohengrin (1850) Siegfried (1876) and Tristan und Isolde (1865) soon followed. Interestingly, however, Strauss betrayed no sign of Wagner’s influence at the time. His father was his greatest musical ...
to appoint its composer Kapellmeister to the Royal Court of Saxony. In Exile Here Wagner spent the next six years, working in his spare time on Tannhäuser (1845) and Lohengrin (1850), and growing increasingly disenchanted with what he saw as the constraints of his post and the philistinism of his employers. An active member of the Dresden intelligentsia, he ...
earned him the gratitude of some of his colleagues, but few friends in high places. He also composed two remarkable operas based on medieval German sources, Tannhäuser and Lohengrin, which are essentially both parables about the artist in conflict with a society that fails to understand him. Tannhäuser was first performed at the Court Opera on 19 October ...
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