Theater Auf Der Wieden News
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2024-03-29
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2021-09-20 20:24:08
[…] Night sings ‘O zittre nicht, mein lieber Sohn’ the Ladies are joined in swaying around her by three further veiled figures who help to accentuate her presence. The actors also give the animals they play during ‘Wie stark ist nicht dein Zauberton’ human traits as warthogs carry walking sticks and birds walk on stilts. All this is in keeping with the fact that the opera premiered not at Vienna’s Burgtheater, but at the librettist Schikaneder’s own Freihaus-Theater auf der Wieden, where by November 1792 it had already notched up a hundred performances. This venue was as famed for its fairytales and comedies as its Goethe, and the original production included sixteen set changes as well as real lions, monkeys and serpents. This does not mean that there are no moments that miss the mark as the journeys through fire and water feel a little lame as they merely see the […]
2020-03-20 17:34:00
Power and patronage in Mozart's La clemenza di Tito and Die Zauberflöte
One of the most celebrated set designs in operatic history: Carl Friedrich Schinkel prepares the way for the arrival of the Queen of the Night: Berlin, 1816 I Giovanni De Gamerra, playwright and librettist,wrote in his 1790 Osservazioni sullo spettacolo: Theatrical spectacle, established on the basis of wise laws and of careful reform, can be regarded as a means always available to the sovereign power to inculcate in his subjects the most useful and important beliefs. … Has our century not seen an emperor at a performance of La clemenza di Tito listening to the voices of humanity and forgiveness?[1] These words do not actually refer to Mozart’s La clemenza di Tito, whose music would be composed the following year, but to an earlier setting of Pietro Metastasio’s text. The Metastasian tradition of court performance, old-fashioned but not […]
2020-03-12 07:26:46
Mozart & more: in 'Arias for Josepha', Sarah Traubel explores the arias written for Mozart's Queen of the Night, Josepha Hofer
[…] and was himself a prompter, music scribe and singer, and he had four daughters. Mozart was clearly taken with them, and at first fell in love with Aloysia Weber but eventually married Constanze Weber. Josepha Weber was also a singer, her career would take her to Munich, Graz and Vienna and in 1788 she married a violinist friend of Mozart's, Franz de Paula Hofer. She became a member of Emanuel Schikaneder's troupe, performing at his Freihaus-Theater auf der Wieden in the Vienna suburbs, and it was here that almost all the works on the disc were performed.The disc, which is Traubel's debut recording, gives us a chance not only to explore a particular singer's voice through her repertoire, but also adds another glimpse into the world of the German singspiel which was performed by Schikaneder's troupe.Jacob Haibel joined the troupe as a singer, actor and composer, and married Josepha's sister […]
2019-12-15 14:06:00
Sarastro – Ain Anger Tamino – Andreas Schager Speaker, Second Priest – Adrian Eröd First Priest – Peter Jelosits Queen of the Night – Aleksandra Jovanović Pamina – Andrea Carroll Three Ladies – Fiona Jopson, Ulrike Helzel, Zoryana Kushpler Papagena – Ileana Tonca Papageno – Rafael Fingerlos Monostatos – Benedikt Kobel First Armoured Man – Herbert Lippert Second Armoured Man – Ryan Speedo Green Three Boys – Members of the Vienna Boys’ Choir Moshe Leiser and Patrice Caurier (directors) Christian Fenouillat (set designs) Agostino Cavalca (costumes) Christophe Forey (lighting) Beate Vollack (choreography) Vienna State Opera Chorus (chorus director: Martin Schebesta) Orchestra of the Vienna State Opera James Conlon (conductor) Something new, Olga Neuwirth’s Orlando, was followed by something old: that most Viennese of operas, Mozart’s Magic Flute. It was premiered in 1791, not at a court theatre—today’s State Opera today’s equivalent—but at the suburban Freihaus-Theater auf der […]
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