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‘Ariadne on Naxos’ Strauss may not have been the out-and-out modernist many have wanted him to be, but neither was he one to sit back and reproduce carbon copies of past successes. Strauss and Hofmannsthal decided to follow up Der Rosenkavalier with an altogether different proposition. Ariadne auf Naxos, in its original version, is a curious amalgam of ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Strauss’s final opera marked a belated return to form. He had suffered since the end of his collaboration with Hofmannsthal and jettisoned his original librettist, Joseph Gregor, in favour of the conductor Clemens Krauss. The conception was a simple but subtle one in which the characters in the piece decide to write an opera. Only at the end is ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Flying Dutchman’ Initially a one-act opera, Der Fliegende Holländer was later expanded to three. Wagner was anxious to make sure it was performed in the way he wished, and wrote detailed production notes for the directors and singers. He also conducted the first performance at the Hofoper or Court Opera in Dresden on 2 January 1843. Although Wagner ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Wagner’s Ring cycle is made up of four works – Das Rheingold (‘The Rhinegold’, 1851–54), Die Walküre (‘The Valkyrie’, 1851–56), Siegfried (1851–57; 1864–71) and Götterdämmerung (‘Twilight of the Gods’, 1848–52; 1869–74). Although there have been other, even more ambitious projects in the history of opera – Rutland Boughton’s cycle of choral dramas based on the Arthurian legends and Karlheinz Stockhausen’s ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Knight of the Rose’ For the follow-up to Elektra, Strauss declared he wanted to write a Mozart opera. Despite Hofmannsthal’s protests about a light, Renaissance subject set in the past, the librettist soon came up with a scenario that delighted Strauss. The correspondence between librettist and composer was good-natured and respectful. Each made suggestions to the other ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Woman Without a Shadow’ Like Ariadne auf Naxos, Die Frau ohne Schatten had a tempestuous genesis. The idea itself stemmed from the period immediately after the premiere of Der Rosenkavalier, but Hofmannsthal’s continual flood of ideas compounded by Strauss’s curmudgeonliness ensured the project stalled regularly. The start of the First World War did nothing to help, and ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Mastersingers of Nuremberg’ Die Meistersinger has often been described as a comedy. This, though, is not ‘comedy’ as found in the operas of Rossini or in Verdi’s Falstaff: what ‘comedy’ means in this context is the bitter ‘human comedy’. The premiere of Die Meistersinger took place in Munich on 21 June 1868. Wagner based his opera on the real-life ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Following Salome was no easy task, and Strauss felt strongly that he needed to tackle an entirely different subject – by preference a light, comic work. He had been in correspondence with the playwright Hofmannsthal and approached him with an idea for such a work. Hofmannsthal had other ideas, and was insistent that Strauss should take up his ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Act I A storm rages. Siegmund enters a forest cottage and collapses. Sieglinde offers him refreshment. She persuades him to stay and meet her husband Hunding, who arrives and is suspicious. Siegmund reveals that his mother and sister were abducted and that he and his father were separated. Earlier that day he fought to rescue a girl from a forced ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Wagner had first encountered the early thirteenth-century romance Parzivâl by Wolfram von Eschenbach (c. 1170–c. 1220) in 1845 and frequently returned to the subject in the course of the decades that followed, completing the libretto in 1877 and the music in 1882. By now his views had changed, and the text and its imagery are permeated by the Aryan ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The Rhinemaidens, who guard the magic gold hidden beneath the waters of the Rhine, are approached by Alberich, a Nibelung dwarf. They tease him mercilessly and, unwisely, reveal that if someone were prepared to renounce love and fashion a ring from the gold, he would acquire the power to dominate the world. Failing to woo ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘Richard the Lionheart’ Composed: 1784 Premiered: 1784, Paris Libretto by Michel-Jean Sedaine Prologue Richard I has disappeared on his way home to England from the Third Crusade. Blondel, his squire and a troubadour, is trying to find his master. Act I Peasants are returning in the evening to their homes near Linz Castle. A local boy, Antonio ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Strauss saw Hedwig Lachmann’s German version of Oscar Wilde’s play in Berlin in 1903. Directed by Max Reinhardt, it made an immediate impression on the composer and he decided to set Lachmann’s text himself. The relatively short length of Salome allowed Strauss to approach the composition as though it were another of the tone-poems with which he had established his ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Act I The act opens in Mime’s smithy, in a forest near where Fafner, now a dragon thanks to the tarnhelm, lives in a cave guarding his treasure. Years before, Sieglinde sheltered there and, dying, entrusted her child and the broken sword to Mime’s care. He has raised Siegfried as his son, hoping to ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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