Richard Strauss Josephslegende, Op. 63 Videos
- Texte von Hugo von Hofmannsthal
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2024-04-18
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Richard Strauss Neeme Järvi Franz Schalk Schumann François Couperin Beethoven Gluck Julius Korngold Korngold Hiroshi Wakasugi Detroit Symphony Orchestra Vienna State Opera Tokyo Metropolitan Symphony Orchestra Vienna Philharmonic 1880 1919 1921 1922 1923 1924 1929 1930 1932 1998 2017
Schlagobers Ballet Suite from Act 1 & 2 +••.••(...) Arr 1932) Act 1 1. (00:02) Vorspiel - Prelude - Introduction 2. (04:46) I- In der Konditorküche 3. (08:21) II- Tanz der Teeblüte 4. (13:11) III Tanz des Kaffees - Träumerei 5. (21:17) IV Schlagoberswaltzer Act 2 6. (27:00) V Tanz der Prinzessin 7. (34:03) VI Tanz der kleinen Pralinees - Springtanz der Knallbonbons - Galop 8. (38:41) VII Menuett und Pas de deux 9. (43:20) VIII Allgemeiner Tanz Finale Detroit Symphony Orchestra Neeme Järvi, conductor Chandos 1998 Schlagobers (Whipped Cream), Op. 70, is a ballet in two acts with a libretto and score by Richard Strauss. Composed in 1921–22, it was given its première at the Vienna State Opera on 9 May 1924. Background: While serving as co-director of the Vienna State Opera with Franz Schalk from 1919 until 1924, Strauss sought to revive the fortunes of the resident ballet company, struggling after the collapse of the Austro-Hungarian monarchy. He recruited choreographer Heinrich Kröller (1880–1930) from the Berlin State Opera and collaborated with him on a series of productions, restaging his earlier work for the Ballets Russes Josephslegende (1922), and rearranging the music of Schumann, François Couperin, Beethoven, and Gluck for, respectively, Karneval (1922), Ballettsoirée (1923), Die Ruinen von Athen (1924), and Don Juan (1924). Most ambitious was Schlagobers, premiered during the official celebrations for the composer's sixtieth birthday. Scenario: A group of children celebrate their confirmation in a Konditorei or Viennese cake shop, where many of the confections come alive, with marzipan marches and cocoa dances. Having overindulged, one boy falls ill and hallucinates, leading to the party of Princess Pralinée, a trio of amorous liquors, and a riot of cakes pacified by beer. The scenario is somewhat reminiscent of The Nutcracker, which remained unperformed in the West until 1929. Music: Strauss' score employs a thematic-developmental treatment of motifs and was, according to contemporary critic Julius Korngold, "too elaborately artistic, too massive and heavily developed, and not dancerly enough... The light whipped cream is whisked in a gaudy bowl." Premiere: Kröller's choreography may be partially reconstructed from surviving drawings and dance notation, while sketches of many of the 287 costumes and sets created by the house designers have survived. The extravagance of the production, costing some four billion Kronen – a contemporary new staging of Wagner's Rienzi cost by contrast only two hundred million – led to it being dubbed the Milliardenballett or "billionaire's ballet", and at a time of food-shortages and hyperinflation, may in part explain its troubled reception. Strauss observed, in response to the poor reviews, "I cannot bear the tragedy of the present time. I want to create joy." Political subtext: While in the final version the three amorous liquors are Marianne Chartreuse, Ladislaw Slivovitz, and Boris Wutki, representatives of France, Poland and Russia, the original intent was to have the German Michel Schnapps instead winning Marianne's hand, a symbol of political reconciliation or even resurgent German virility, written out after the Occupation of the Ruhr. Also in earlier sketches, red banners were waved amidst the riotous proletarian cakes, with the Revolution Polka conducted by matzos. Recordings: There is a recording of the full ballet by the Tokyo Metropolitan Symphony Orchestra, conducted by Hiroshi Wakasugi, on the Denon label. The composer also recorded the waltzes from the ballet with the Vienna Philharmonic. Other productions: The American Ballet Theatre mounted their first production of the ballet in 2017 at the Metropolitan Opera in New York City; Alexei Ratmansky provided the choreography and Mark Ryden designed set and costumes. That production was also shown at the Kennedy Center in Washington, DC, and at the Hong Kong Arts Festival.
Josephs Richard Strauss Giuseppe Sinopoli Shepherd 1912 1914
pf: Dresden Staatskappelle cond/ Giuseppe Sinopoli Josephslegende (The Legend of Joseph), Op. 63, is a ballet in one act for the Ballets Russes based on the story of Potiphar's Wife, with a libretto by Hofmannsthal and Kessler and music by Richard Strauss. Composed in 1912-14, it premiered at the Paris Opera on 14 May 1914. SYNOPSIS: Following a few bars of introduction (0:00), the curtain rises on festivities in the palace of Potiphar. The music vividly depicts slaves waiting on guests, others bringing newly purchased precious stones, jewellery, a carpet and even greyhounds to Potiphar’s wife, as well as gold dust being poured on to the scales (1:18). The haughty woman is left bored and disinterested by these goings-on. At her husband’s command three litters are brought in, each with a veiled and an unveiled woman (2:41). Competing in grace, they perform a nuptial dance to represent the unveiling of the bride (4:06). Then the dancer Sulamith comes forward and dances a solo “ardent with desire” (9:48). A woman seeking protection reaches out to Potiphar’s wife, who, however, in her icy stiffness repels her with a violent gesture. Boxers enter (13:53) and break into a round dance, which becomes more and more frenzied (14:30). When it degenerates into violent fighting, they have to be separated with a whip and led off into the palace. Slaves carefully bring in a golden hammock and set it down on the ground (18:17): Joseph, dressed as a shepherd, descends from it and begins a dance figure expressing “the shepherd-boy’s innocence and naïveté” (21:02). In his second dance figure, he executes leaps in the four directions of the compass in order to demarcate the limits of his next dance (22:11). The third dance figure shows him searching and wrestling after God (24:04). With the fourth dance figure he has found God at last and dances for His glorification (28:56). During Joseph’s dance the coldness and stiffness of Potiphar’s wife begin to dissolve and she exhibits a growing sense of involvement and sympathy. When Joseph has finished his dance (32:06), she allows him to approach and attempts to fathom his, to her, incomprehensible nature. She hangs a necklace round his neck, momentarily touching the nape, before turning abruptly away. The festivities have come to an end (35:41): the hosts and guests retire. Evening falls (37:37). The scene changes to an underground chamber in which table utensils, silver and other objects are stored. This humble place is where Joseph sleeps. He enters the room and, after saying his prayers and wrapping himself in his coat, goes to bed. He has a dream of a guardian angel (42:23). Potiphar’s wife enters stealthily (42:23). Extinguishing her lamp, she touches Joseph’s neck. He awakens and believes it is the angel who just appeared to him in his dream whom he sees before him. Potiphar’s wife is disconcerted and goes down on her knees before him. She then attempts to flee but returns and touches Joseph’s lips with hers. He is frightened, runs from the room and buries his head in his coat. She follows him and tries with growing insistence and passion to seduce him. He attempts to free himself from her but in the process loses his coat and suddenly stands stripped to the waist before her (48:46). She renews her advances and again he vigorously rejects them. Then, filled with hate, she throws herself on him and tries to strangle him. With an offhand motion he forces her to her knees. At that moment servants approach with torches (50:47). Potiphar’s wife gestures accusingly at Joseph, has him seized and then falls unconscious in the arms of a female slave who has come to her aid (51:34). More female slaves enter and perform a dance filled with wailing and wildness as they repulse and taunt Joseph (52:10). Potiphar appears and has Joseph put in chains (54:00). His wife, who has regained consciousness, makes accusations against Joseph, and in a rage she tears up his coat. Henchmen bring in a brazier and prepare it for use in torture by fire (56:11). Potiphar’s wife observes the preparations and Joseph’s calm demeanour with a combination of admiration, arousal, hatred, fear and horror. The blood-red glow of the flames is transformed into a pure white beam of light; a star begins to shine in the heavens and an archangel of imposing size, clad in gold, enters the scene (58:56). He frees Joseph from his chains and leads him away. Potiphar’s wife is aghast and strangles herself with her string of pearls. As the assembled company form a mourning procession, Joseph disappears with the archangel into the light of day (1:00:22).
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