Synonyms for beckmesser or Related words with beckmesser

amfortas              gurnemanz              pogner              telramund              sarastro              ortrud              exequien              florentinische              masetto              lortzing              graun              biterolf              giselher              titurel              nimsgern              trauerspiel              gutrune              lindorf              papagena              goerne              rodelinda              schauspieler              ariodante              fiesco              tragische              weckmann              bluthochzeit              siegfrieds              bildnisse              blaubart              herincx              immermann              bildhauer              papageno              musikalischer              jedermann              tonwerke              imeneo              konstanze              antigonae              greindl              ridderbusch              zeitgenossen              heiling              plessner              dapertutto              sparafucile              marzelline              vorwort              frasquita             

Examples of "beckmesser"
He can be seen on video as the Heerrufer and as Beckmesser.
As Eva and Walther retreat further into the shadows, Beckmesser begins his serenade. Sachs interrupts him by launching into a full-bellied cobbling song, and hammering the soles of the half-made shoes. Annoyed, Beckmesser tells Sachs to stop, but the cobbler replies that he has to finish tempering the soles of the shoes, whose lateness Beckmesser had publicly complained about in Act 1. Sachs offers a compromise: he will be quiet and let Beckmesser sing, but he (Sachs) will be Beckmesser's "marker", and mark each of Beckmesser's musical/poetical errors by striking one of the soles with his hammer. Beckmesser, who has spotted someone at Eva's window (Magdalena in disguise), has no time to argue. He tries to sing his serenade, but he makes so many mistakes (his tune repeatedly places accents on the wrong syllables of the words) that from the repeated knocks Sachs finishes the shoes. David wakes up and sees Beckmesser apparently serenading Magdalena. He attacks Beckmesser in a fit of jealous rage. The entire neighborhood is awakened by the noise. The other apprentices rush into the fray, and the situation degenerates into a full-blown riot. In the confusion, Walther tries to escape with Eva, but Sachs pushes Eva into her home and drags Walther into his own workshop. Quiet is restored as abruptly as it was broken. A lone figure walks through the street – the nightwatchman, calling out the hour.
He was also renowned for his portrayal of Beckmesser, which he sang at the Bayreuth Festival in 1943 and 1951.
In 2013 August, he made his role dèbut as Beckmesser in Die Meistersinger von Nürnburg for the Salzburg Festival.
Erich Kunz (20 May 1909 in Vienna – 8 September 1995 in Vienna) was an Austrian operatic light baritone, particularly associated with the roles of Papageno and Beckmesser.
Beckmesser, still sore from his drubbing the night before, enters the workshop. He spots the verses of the Prize Song, written in Sachs's handwriting, and infers that Sachs is secretly planning to enter the contest for Eva's hand. The cobbler re-enters the room and Beckmesser confronts him with the verses and asks if he wrote them. Sachs confirms that the handwriting is his, but does not clarify that he was not the author but merely served as scribe. However, he goes on to say that he has no intention of wooing Eva or entering the contest, and he presents the manuscript to Beckmesser as a gift. He promises never to claim the song for his own, and warns Beckmesser that it is a very difficult song to interpret and sing. Beckmesser, his confidence restored by the prospect of using verses written by the famous Hans Sachs, ignores the warning and rushes off to prepare for the song contest. Sachs smiles at Beckmesser's foolishness but expresses hope that Beckmesser will learn to be better in the future.
In a 2009 interview Katharina Wagner, the composer's great-granddaughter and co-director of the Bayreuth Festival, was asked whether she believed Wagner relied on Jewish stereotypes in his operas. Her response was, "With Beckmesser he probably did."
Unlike Fischer-Dieskau, Prey wisely limited his Wagner to the soft, high-baritone roles Wolfram and Beckmesser. He can be seen on video in the latter role, opposite Bernd Weikl.
The critic Peter Conrad commented on Evans's "physiognomic intelligence...His characterisations were built from the shoes up - his Claggart in "Billy Budd" minced; his Wozzeck plodded; his Beckmesser scurried like an officious beetle; his Falstaff had a pigeon-toed waddle."
Eva approaches Sachs, and they discuss tomorrow's song contest. Eva is unenthusiastic about Beckmesser, who appears to be the only eligible contestant. She hints that she would not mind if Sachs, a widower, were to win the contest. Though touched, Sachs protests that he would be too old a husband for her. Upon further prompting, Sachs describes Walther's failure at the guild meeting. This causes Eva to storm off angrily, confirming Sachs's suspicion that she has fallen in love with Walther. Eva is intercepted by Magdalena, who informs her that Beckmesser is coming to serenade her. Eva, determined to search for Walther, tells Magdalena to pose as her (Eva) at the bedroom window.
The summer 2010 Adrian Eröd will return both to Opernhaus Zürich and to the Bayreuther Festspiele as Beckmesser in Die Meistersinger. The opera season 2010/2011 he will sing Figaro ("Il barbiere di Siviglia"), Jason ("Medea"), Dr Falke ("Die Fledermaus"), Albert ("Werther"), Loge ("Das Rheingold"), Valentin ("Faust") and the title role in Benjamin Britten's "Billy Budd" at Wiener Staatsoper. Late in spring 2011, Adrian Eröd travels to Japan to sing Gugliemo in "Così fan tutte" at New National Theatre Tokyo and in the summer to Bayreuth for his third season as Beckmesser in Die Meistersinger.
The Wagner scholar Barry Millington has advanced the idea that Beckmesser represents a Jewish stereotype, whose humiliation by the Aryan Walther is an onstage representation of Wagner's antisemitism. Millington argued in his 1991 "Nuremberg Trial: Is There Anti-Semitism in '?" that common antisemitic stereotypes prevalent in 19th-century Germany were a part of the "ideological fabric" of ' and that Beckmesser embodied these unmistakable antisemitic characteristics. Millington's article spurred significant debate among Wagner scholars including Charles Rosen, Hans Rudolph Vaget, Paul Lawrence Rose, and Karl A. Zaenker.
He has performed at the Bayreuth Festival, since 1996 the part of Beckmesser in "Die Meistersinger von Nürnberg" with Daniel Barenboim, later with Christian Thielemann, since 1997 Amfortas in "Parsifal" with Giuseppe Sinopoli, later Christoph Eschenbach, since 2005 Kurwenal in "Tristan und Isolde".
As twilight falls, Hans Sachs takes a seat in front of his house, to work on a new pair of shoes for Beckmesser. He muses on Walther's song, which has made a deep impression on him. (""Was duftet doch der Flieder"", often called "the "Fliedermonolog"")
Scholars Dieter Borchmeyer, Udo Bermbach () and Hermann Danuser () support the thesis that with the character of Beckmesser, Wagner did not intend to allude to Jewish stereotypes, but rather to criticize (academic) pedantism in general. They point out similarities to the figure of Malvolio in Shakespeare's comedy "Twelfth Night".
Gustav Hölzel (2 September 1813 – 3 December 1883) was an Austro-Hungarian bass-baritone and composer who sang in the opera-houses of Austria, Germany and elsewhere for nearly fifty years. He is principally remembered as the first Beckmesser in Richard Wagner's "Die Meistersinger von Nürnberg".
Recordings are available of him as Figaro (Mozart and Rossini), Dandini, Riccardo, Rigoletto, Belfiore, Melitone, Ford, Jago, Scarpia, and, in an Italian translation-performance of "Die Meistersinger von Nürnberg", Beckmesser. There is a DVD of Cappecchi as Don Bartolo with Jennifer Larmore as Rosina in "The Barber of Seville" staged at Netherlands Opera in a 1992 production by Dario Fo.
Although the score calls for Beckmesser to rush off in a huff after his self-defeating attempt to sing Walther's song, in some productions he remains and listens to Walther's correct rendition of his song, and shakes hands with Sachs after the final monologue.
Alexander sang with companies in Latin and North America and Europe, including Bayreuth (Sixtus Beckmesser in Wieland Wagner's "Die Meistersinger", 1963 and 1964). Operas in which he appeared include "Lulu", "Il prigioniero", "Moses und Aron", "Der fliegende Holländer", "Lohengrin", "Parsifal" (as Amfortas), "Der Ring des Nibelungen" (as Wotan), and "Tristan und Isolde".
Sædén first appeared at the Royal Opera in Stockholm in 1952 and was a member of the company until 1981. Among over 100 roles which he sang were the Count ("Le Nozze di Figaro"), Beckmesser, Wolfram ("Tannhäuser"), Scarpia, Jochanaan, Golaud, Pimen, Wozzeck (Swedish premiere, 1957) and Nick Shadow in "The Rake's Progress" (Swedish premiere, 1961).