Ruzena Herlinger Video
cantante lirico
- soprano
- Austria-Ungheria
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2024-04-28
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Berg Annelies Kupper Hermann Scherchen Herlinger Seele Fuchs Schoenberg 1929 1930 1957
Annelies Kupper (soprano), Hermann Scherchen conducting the Bavarian Radio Orchestra, recorded 1957. n.b. Hermann Scherchen was the conductor for the premiere of this work in 1930 with Ružena Herlinger. 1. Die Seele des Weines (The Soul of Wine) 2. Der Wein der Liebenden (The Wine of Lovers) 3. Der Wein des Einsamen (The Wine of the Solitary) Programme note by Matthew Rye, accessed at (http•••) Berg twice interrupted work on his second opera, Lulu, a project he was destined never to complete. Most famously he took time out to write his Violin Concerto, but he also responded to a request for a concert aria from the Czech soprano Ružena Herlinger. For the text of this commission he turned to the poetry of Charles Baudelaire, in Stefan George's German translations, an example of which had earlier furnished the secret, unpublished vocal line accompanying part of his Lyric Suite. The coded programme behind that work was a reflection on Berg's affair with Hanna Fuchs-Robettin, the wife of a Prague industrialist. But the concert aria, too, seems to dwell on the aftermath of this liaison in Berg's choice of three poems from Baudelaire's cycle Le vin, a celebration of wine as a means of escape from the everyday world. They are set broadly in the shape of a musical palindrome, to reflect the growth of love and a return to solitude, a symbolism that the composer said reflected his own situation. Composed quickly (by Berg's standards) in the spring and summer of 1929, Der Wein shares the musical ambience of its much bigger sister, Lulu, with its prominent use of the alto saxophone and allusions to the tango and waltz. Like the opera, too, it is written using Berg's own idiosyncratic, tonally weighted interpretation of Schoenberg's 12-tone system. Here the tone-row extends from a D minor scale and is heard most clearly in the soprano's opening phrase to 'Die Seele des Weines' (The Spirit of Wine). The tempo picks up for the central poem, 'Der Wein der Liebenden' (The Wine of Lovers), but after the soloist sings her last word, 'Land', time seems to stand still for a moment and a dull thud from the piano marks the point at which the music of the song / without singer this time / winds its way backwards. The soloist's reappearance with 'Der Wein des Einsamen' (The Wine of the Solitary) aborts the strict palindrome but here the music returns to the ruminating bassoons of the very opening and, like a sonata movement, reprises that of the first song, with a short orchestral postlude finding an uneasy repose on an unsettling final chord.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): H...