Johann Nestroy News
Austrian playwright, actor and singer
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- Austrian Empire
- writer, playwright, poet lawyer, stage actor, opera singer, satirist, poet, actor
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2024-04-25
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2015-10-23 15:16:06
[…] 1833, the young Lortzings gave their debut at the Leipziger Stadttheater. Lortzing’s parents had been members of this ensemble since 1832, under Friedrich Sebald Ringelhardt. Here, Lortzing became a member of the artists’ club “Tunnel unter der Pleisse” (“Tunnel under the Pleiße”), and in 1834 he became a member of the Leipzig Freemasons lodge “Balduin zur Linde” (“Balduin to the Linden Tree”). Lortzing was much loved in the Leipzig ensemble, particularly when acting in Johann Nestroy’s comedies. However, his tendency to improvise and to deviate from the script attracted the attention of the theatrical police. His first comic opera, Zar und Zimmermann, had a tough time with the Leipzig censors. It premiered in Leipzig on December 22, 1837. Lortzing himself sang the role of Peter Iwanow, but it did not make a major breakthrough until its Berlin performances in 1839, where it was much praised. In 1844, Lortzing became Kapellmeister […]
2013-10-15 11:00:00
Torchbearer or Parasite?
[…] he inspired and inspires significant fans, drawn to his baleful attacks against the greats, such as Heinrich Heine, and his support for underdogs, such as Franz Wedekind. Jonathan Franzen is the latest in this short line of advocates who, using his influence within a largely conservative, return-watching book industry, has issued The Kraus Project as his latest tome. The volume is, in essence, Franzen's translation of four Kraus essays, Heine and the Consequences (1910), Nestroy and Posterity (1912), Afterword to 'Heine and the Consequences' (1911) and Between Two Strains of Life: Final Word (1917) and the brief but chilling poem from the time of Hitler's assent to power, Let No One Ask... (1934). But the really interesting meat of the matter is to be found in Franzen's annotations 'with assistance and additional notes from Paul Reitter and Daniel Kehlmann'. Using Kraus's clever-clever, labyrinthine demolition of the (in Kraus's view) […]
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