Synonyms for schweigsame or Related words with schweigsame
Examples of "schweigsame"
In 1935, Richard Strauss's opera "Die
Frau", with a libretto by Stefan Zweig based on Jonson's play, premiered in Dresden.
She was also admired in Strauss's "Die
Frau" and "Elektra" (as Clytemnestra), as well as in Verdi roles such as Eboli, Amneris, and Bizet's "Carmen".
She gave guest performances at Bayreuth (e.g. Kundry in "Parsifal", 1938), Amsterdam, Paris, London, Berlin, Wien and Salzburg. In 1935 she sang in the premiere of Strauss's "Die
Frau ("The Silent Woman"), Op. 80, is a 1935 opera in three acts by Richard Strauss with libretto by Stefan Zweig after Ben Jonson's "Epicoene, or the Silent Woman".
At the time of his unexpected death in Vienna on 11 May 1949, Waniek was planning a production of Richard Strauss's Silent Woman (""Die
Frau""). (Strauss himself died later that summer.)
9. Richard Strauss: "Die
Frau" with Hermann Prey, Fritz Wunderlich, Hans Hotter, and Karl Böhm (cond.); Chorus and Orchestra of the Vienna State Opera; rec.1959/live-Salzburg Festival (DG)
Richard Strauss used several selections from the Fitzwilliam Virginal Book in his 1935 opera, "Die
Frau", and cited them accordingly at their appearances in the work. They appear at ritualized moments in the action to provide commentary and atmosphere in the Act 2 marriage scene (No. XIV and No. XC) and in the Act 3 courtroom scene (No. XXXVII).
At the Dresden Opera, he appeared in five Richard Strauss premieres: Feuersnot, Salome, Die ägyptische Helena, Die
Frau, and Arabella. He was married from 1911 to the soprano, Eva von der Osten, who in that year created the role of Octavian in Strauss's Der Rosenkavalier. [Details from Kutsch and Riemens Großes Sängerlexikon.]
Past performances include: an acclaimed American opera debut with the Washington National Opera as Angelina in "La Cenerentola"; role debuts as Carlotta in Strauss's "Die
Frau", Christa in Janáček's "The Makropulos Affair," Despina (having previously sung the role of Dorabella) in Mozart's "Così fan tutte", Prince Orlovsky in "Die Fledermaus," Cherubino in "Le nozze di Figaro," as well as
Potpourris became especially popular in the 19th century. The opera overtures of French composers, such as François-Adrien Boïeldieu (1775–1834), Daniel Auber (1782–1871) and Ferdinand Hérold (1791–1833), or the Englishman Arthur Sullivan (1842–1900) belong to this type. Richard Strauss called the overture to his "Die
Frau" a "pot-pourri".
From 1965 to 1987, she performed regularly at the Bayerische Staatsoper Munich in new productions, among which were Richard Strauss' "Die
Frau", "Falstaff", "Le Nozze di Figaro", and "Il barbiere di Siviglia". Guest appearances included performances at Lyric Opera of Chicago, Deutsche Oper Berlin, La Scala Milano, Buenos Aires, Holland Festival, and Die Wiener Festwochen.
Richard Strauss made specific reference to this opera in "Die
Frau", recomposing "Dolce Amor" as a duet which is sung in the course of the music lesson scene in act 3, as one of many such reappropriations of preexisting music Strauss used to create an "antique" atmosphere.
He was also highly skilled in editing and preparing the vocal scores for operas from the full orchestral score. Some of his important work in this area was for the Strauss opera "Arabella" and the Pfitzner opera "Palestrina". He also prepared vocal scores for Strauss's opera "Die
Frau" and Pfitzner's operas "Das Herz" and "Die Rose vom Liebesgarten".
With the Philharmonia Orchestra, Dohnányi performed throughout Europe at such venues as the Musikverein in Vienna, the Salzburg Festival, Amsterdam's Concertgebouw, the Lucerne Festival, and Paris's Théâtre des Champs Elyseés. For several seasons, Dohnányi and the Philharmonia Orchestra were in residence at the Théâtre du Châtelet in Paris, performing new productions of Richard Strauss's operas "Arabella", "Die Frau ohne Schatten" and "Die
Frau", Arnold Schoenberg's "Moses und Aron", Igor Stravinsky's "Oedipus Rex" and Engelbert Humperdinck's "Hänsel und Gretel". At the Opernhaus Zürich, Dohnányi led new productions of "Moses and Aron", "Oedipus Rex" (with Béla Bartók's "Bluebeard's Castle"), Strauss's "Die
Frau", "Ariadne auf Naxos", "Salome", "Elektra", and "Die Frau ohne Schatten", Mozart's "Idomeneo", Giuseppe Verdi's "Un Ballo in Maschera", and Richard Wagner's "The Flying Dutchman".
Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, "Die
Frau", with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich.
In 1971 he was appointed as the first director of production at Glyndebourne, to oversee existing productions and create new ones. During his tenure he worked with designers including David Hockney, Sir Hugh Casson, Michael Annals and William Dudley. The critic Rodney Milnes singles out for mention Cox's Glyndbourne productions of Richard Strauss operas: "Ariadne auf Naxos" (1971), "Capriccio" (1973), "Intermezzo" (1974), "Die
Frau" (1977), "Der Rosenkavalier" (1980) and "Arabella" (1984).
Thomsen spent several seasons with the Santa Fe Opera, a renowned center for progressive opera, where his repertoire expanded to include Flamand in Capriccio, Tamino in Die Zauberflöte and roles in the American Premiere of Hans-Jürgen von Bose's The Sorrows of Young Werther and Siegfried Matthus's Judith. Subsequently, Mr. Thomsen appeared in roles such as Henry Morosus in Die
Frau, the Steuermann in Der fliegende Holländer, in Strauss's Friedenstag and Feuersnot.
After completion of Danae's score, Strauss was planning in 1940, at the suggestion of Heinz Drewes and Hans Joachim Moser, to collaborate with Gregor to rework the libretto of the opera "Jessonda" (music: Louis Spohr, libretto: Edward Henry Go ). When Gregor offered to rewrite the text of the opera "Die
Frau" to replace that of Stefan Zweig, Strauss refused and also withdrew from the "Jessonda" project.
Schade is considered a leading Mozart tenor. He regularly performs at the Canadian Opera Company, Vienna Staatsoper, Salzburg Festival, Metropolitan Opera, Washington Opera, Opéra National de Paris, San Francisco Opera, Hamburg State Opera, the Lyric Opera of Chicago and the Los Angeles Opera. At the Vienna Staatsoper, Schade has appeared in "Daphne", "Don Giovanni", "Così fan tutte]", "Die Entführung aus dem Serail", "Die Zauberflöte", "Arabella", "Il Barbiere di Siviglia", "L'elisir d'amore", "Die
Frau" and "Die Meistersinger von Nürnberg". He is a regular guest of the world-famous "Lied"-festival Schubertiade Schwarzenberg in Vorarlberg, Austria.
Mödl spent much of her early life as a bookkeeper and secretary in Nuremberg. At the age of 28, she began vocal studies at the Conservatory of her home town. Having made her debut as Hänsel in Remscheid in 1942, she then added Cherubino, Mignon and Azucena to her roles. Moving to Düsseldorf, she began performing Dorabella, Venus, Octavian, Eboli, Carmen and Klytemnestra. She was then invited to perform in "Carmen" at Covent Garden in 1949 (returning for the Ring in 1959, Klytemnestra in 1966 and "Die
Frau" in 1972), and joined the Hamburg State Opera in the same year. In 1950, she made her La Scala debut as Kundry.
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