sword is shattered. As gnomes burst in and threaten the villagers, the queen appears to recall Heiling to his kingdom, never to be seen again. Personalities | Heinrich Marschner | Early Romantic | Opera ...
(Hin’-rikh Marsh’-ner) 1795–1861 German composer Marschner was the most important composer of German operas during the period between Weber and Wagner. Marschner grew up in Zittau and in 1815 met Beethoven in Vienna. In 1821 he moved to Dresden before settling in Hanover in 1830 as the conductor of the Hoftheater, where many of his operas were first performed. Marschner believed ...
1795–1861, German Heinrich Marschner, the German composer, had the best possible backer for his first opera, Heinrich IV und d’Aubigné (1817–18), which was set around the turn of the seventeenth century. It featured King Henri IV of France and his follower the Huguenot poet Théodore d’Aubigné. Carl Maria von Weber, no less, staged the opera ...
position in the German repertory. Recommended Recording: Zar und Zimmermann, Leipzig Radio Chorus, Staatskapelle Dresden (cond) Robert Heger (EMI/Warner) Introduction | Early Romantic | Classical Personalities | Heinrich Marschner | Early Romantic | Classical ...
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 by Heinrich Marschner (1795–1861) and Verdi’s Falstaff. Betz created the role of Hans Sachs in Wagner’s Die Meistersinger von Nürnberg, singing it again at Bayreuth in 1889, and took the roles ...
voice lasted and lasted, despite his fondness for cigars, and he did not retire until he was over 60. Introduction | Early Romantic | Opera Personalities | Heinrich Marschner | Early Romantic | Opera Houses & Companies | Paris Opéra | High Romantic | Opera ...
woodwinds) were used to signify the presence of spirits, while folk-like melodies and horn calls represented peasant life. The use of recurring motifs was further developed by Spohr and Marschner, who in his Der Vampyr also explored chromatic harmony, varied orchestration and a type of heightened vocal style approximating speech. The operas of this period effectively ended the ...
written an opera to a German libretto (Die Zauberflöte, much imitated in the 1790s), but had not really created a German operatic style. Spohr, Weber, Nicolai and Marschner cultivated a dramatic vein that drew more heavily on German themes, on folklore and rustic scenes; their operas have a Germanic quality quite distinct from Italian opera, culminating ...
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