Access content through your institution. Any other coaching guidance? Don't have an account? Currency and addition of Tax VAT depend on your shipping address. Author: Andreas Keller. Add to Cart. Have an Access Token? Enter your access token to activate and access content online. Please login and go to your personal user account to enter your access token. Have Institutional Access? Forgot your password? As he tries to seduce the lovely Donna Anna, it comes to a duel with her father, the Commander. Don Giovanni stabs him, but his spirit does not leave him and calls him to remorse and penitence.
When Don Giovanni refuses, he is devoured by hell. Idomeneo K. In order to save his own life, he promises the god of the sea, Poseidon, that he is to be offered the first human being that Idomeneo meets. As Idomeneo now sets foot on the beach, he first encounters his son Idamante.
Der goldene Herrscher by Steven Erikson
The plan fails and Poseidon, in the. At that moment, the oracle proclaims that, according to Poseidon, Idomeneo should abdicate as ruler and surrender the throne to his son Idamante and his consort Ilia. So it also happens: the king abdicates and Idamante may keep his life. Figaro and Susanna, the servant couple, want to marry. Saddened by. This is followed by a comedy game of confusion with hide-and-seek and role reversal, cunning and jealousy and a happy ending — including a lavish wedding feast.
Mussorgsky, Modest — Boris Godunov 1. Lamm and Version Lloyd-Jones on the basis of P. Hube , English D. Lloyd-Jones , Italian J. Delines, L. Laloy ; German H. See No. Lippold, H. Agate , French M. Courtyard of the Novodevichy monastery — 2. Square in the Kremlin. Coronation scene. Inn scene — 5. Outside St. Council of Boyars.
Death of Boris. When the work was rejected by St. Palace park in Sandomir — 8. Death of Boris — 9. In the forest of Kromy Revolution scene. The score published under the supervision of Pavel Lamm in the Complete Edition and the piano reduction contain the parts of both versions transmitted in score, as well as in the piano reduction, all the changes made by Mussorgsky in his piano reduction of The performance material can thus be used for a production of either the original version or the final version, according to need.
In this respect, this arrangement must be considered as an autonomous work. Modest Mussorgsky, from V. Stasov German E. Fritzheim , English E. Joung , French R. Prophecies, conspiracies and intrigues characterize the course of history, at the end of which Prince Ivan Khovansky falls victim to intrigues. Modest Mussorgsky after Nikolay W. Fritzheim , English, French L.
Laloy , Italian R. There is an annual fair in Sorochyntsi, where prevailing is a colorful and amusing hustle and bustle of visitors and merchants. A gypsy tells the story of the devil who visits the fair every year dressed as a pig: the reason for the devilish visit is his red jacket, which he once pledged to an innkeeper with the promise to redeem it in the following year. The innkeeper, meanwhile, had sold the coat. Gritsko, a young farmer, visits the fair with his friends and meets Parasya, who is attending the market together with her father Cherevik. He immediately falls in love with her, and when Cherevik realizes that he is the son of a friend, he agrees to a wedding.
She considers the young farmer an unsuitable candidate and forbids the wedding.
Gritsko, discouraged and sad, begins a lament when suddenly a gypsy appears and offers his help. Falstaff, though, stands in this comedy for the behaviors condemned by the middle-class society, such as indulgence, gluttony and the lust. At the same time, Falstaff courts the ladies Fluth and Reich and writes them identical love letters. Unfortunately, the two ladies notice the swindle. Disgusted with such behavior, especially since both are still married, they set up a plan to get back at the noble gent. Giambattista Casti German W. Ebermann, M.
Good comic operas are known to be in short supply. The music illustrates a grotesque confusion of the first order, which deeply impressed Mozart at the time. In the new version,. Additionally, the second act is dramaturgically streamlined and transformed. Riha, V. It was necessary to minimize the rhythmic changes in the vocal parts and to recreate the phrasing of the Italian text. The rhyme in the Italian text was followed where. The objective in choosing the words for the transmission was, on the one hand, to trace the musical impulse and, on the other hand, vocabulary and syntax needed to ensure a convergence of sound elements of the two languages.
Original Version 2. Vladimir J. Bernhard ; H. Kupfer ; Italian R. Fairy tales, myths, fables — opera has ever been associated with the fantastic, the unreal and the magical, and has not only retained its characteristic manifestations with the publication of the famous fairy tale collections of the 19th century. Perhaps, the fairy tale opera is even in itself the ideal form of the musical theater. The story is told by Tsaritsa Militrisa, who, with her son, is rejected by her husband and reconciled with the Tsar only after an odyssey and many trials of her valor.
Time and again, the storyline revolves around the dangers of childhood and the process of growing up, yet it literally sparkles with fantasy. A swan speaks with a human voice, a squirrel cracks golden nuts, seven young sailors emerge from the sea and not to forget: the flight of the prince, transformed into a bumblebee — probably the most famous musical detail of the opera. It does not, by any means, have to be in the original language…. Nikolay Rimsky-Korsakov after A. Bernhard , French P. Halperine, P.
Lalo , English E. Her parents protect her from the envy of the Sun King Yarilo. He threatens to warm her heart and destroy her as soon as she falls in love. Ebermann, H. He instinctively felt that its heyday was already over. Up to now, the state of the performing material, which had been hastily written for the premiere, had been preventing a broader dissemination of the work. Mario Venzago, who had been responsible for the. In preparation for this new production, the material was thoroughly reexamined, whereby certain parts were newly copied in close collaboration with Venzago.
The old King Froila, who was dethroned and expelled by Mauregato and his general Adolfo, lives with his son Alfonso in exile. Alfonso is drawn to travel, however, his father makes him promise not to leave the valley where they live. But when the king does not want to force his daughter to. In his favor, Froila renounces the throne, and Mauregato gives Alfonso his daughter Estrella in marriage. The libretto is rather confusing, but fully in keeping with the fashion of the times: Eginhard loves Emma, the daughter of Emperor Karl, but can only win her hand after proving himself successful in many battles and adventures.
Fierrabras, the son of the Moorish Prince Boland, has been captured by Eginhard on a crusade. In the end, there are two happy couples — but Fierrabras is not part of either. The action is based on the story of the death of Lazarus and his resurrection by Jesus. At all events, it is. The work, which is ideal for the stage, was completed by Edison Denisov using motives and the scoring of Schubert.
Golo is visibly seeking revenge, since Genoveva has always rejected his advances. When Siegfried returns from the crusade, he sentences his wife to death, but the hangman has pity with her and sets her free in the wilderness. Genoveva then spends seven years in the forest living on herbs and the milk of a hind, which she also feeds to her son, who was born shortly after her banishment.
The folk legend stems from France but also became known in Germany in the 17th century. Schumann created a work that was totally new and innovative for its time, and in which he only used the legend to establish the framework for psychograms of the protagonists, whose most intimate emotions are given voice by the music. Koerth , R. Hartmann , English D. Lloyd-Jones , French M. Mazeppa, commander-in-chief of the Ukrainian Cossacks, loves Mariya.
Their parents, the wealthy squire Kochubey and his wife, react with horror and try to suppress the relationship of the two. Mariya is, though, much younger than Mazeppa and also his goddaughter. The parents have to make a choice for Mariya: either she stays with her family and her childhood friend Andrei, or she. Despite the indomitable brutality that leads to self-destruction, Mazeppa seeks to understand his love. Remaining left behind is Mariya, who in mental derangement intones a touching lullaby.
Koerth and collaboration by H. Seeger ; R. A confession made by Tchaikovsky a few months before his death show to what extent the composer, after an initial. Now I hope that all my enthusiasm, excitement and devotion will find an echo in the hearts of receptive listeners. From the original text by Salvatore Cammarano and Leone E. It became a historical allegory and, even though there is no attempt to modernize the topic, the subject is still set to music with such a modern-day passion.
To de-politicize the topic would mean to violate the roots of the work. It is our duty to place the heart-wrenching individual fates in the context of their historical era, and to let the actions of the characters be determined more strongly by their social rank, by the history of their nation and by their personal experiences.
Newman or P. England , Italian A. A curse condemns the Dutchman to eternal homelessness, to the restless activity on the sea. Every seven years he is allowed to go ashore and seek salvation. But only a woman who is eternally loyal to him can bring him and his crew salvation. Seven years have again passed and on the Norwegian coast the Dutchman meets the sailor Daland. He asks for the hand of his daughter Senta, but keeps his identity to himself. Senta is familiar with and fascinated by the story of the Flying Dutchman. She feels called to save him. When her father arrives at the.
Daland house with the strange sailor, Senta and the stranger become closer and she swears eternal loyalty to him. During the preparations for the festive engagement, Erik, to whom Senta had previously pledged fidelity, reminds her of this promise and of her love. He reveals himself and flees to his ship. Senta follows him and again swears eternal fidelity before plunging from the rocks into the sea.
Richard Wagner, after W. Dent , French A. Draft for a Drama]. Because of his participation in the events of the Dresden May uprising of , he had to flee to Zurich, living there in exile for almost 10 years. As a supplement to the first part he wrote Der junge Siegfried later called just Siegfried. Libretto Richard Wagner Place and time 1. At the bottom of the Rhine 2. Open terrain on a mountaintop by the Rhine 3. Rocky mountain range 3. A rock cave in the forest 2.
Deep forest 3. Wild area at the foot of a rocky mountain 4. Valkyrie rock 2. The hall of the Gibichungs 3. Dresden Version of 3. Paris Version of Newman Place and time 1. Inside the Venusberg near Eisenach 2. The valley of the Wartburg 3. In the overture, the abrupt transition to the Bacchanal — he had composed this especially for Paris — now occurs directly after the Venusberg motifs.
Wagner was no longer able to eliminate the musical. Richard Wagner English H. Comer , French A. Ernst, P. He initially planned a work that was modest in its production and performance demands. The project was also given priority not least because of the prospect of the royalties which he would then receive. I still hope that it will take place in Karlsruhe under my guidance.
Translation Under Fascism
Due to the celebrity that I have now acquired, I assume that a new and easily performable work of mine should be able to spread very quickly. What I needed was an impassioned young monarch to restore my courage. Max, the hunter, is facing an important day. Unfortunately, Max, once the best shot, is suffering from a losing streak and no shot is hitting the target.
Kaspar, the intriguer, persuades Max to cast magic bullets so as not to fail the shooting trial. But Kaspar is an accomplice of Samiel, the devil himself. Seven magic bullets. In the shooting trial the next day, Max still has a bullet left. When he wants to shoot a white dove from the tree, as ordered by the Prince, Agathe falls to the ground.
Protected by a hermit who deflects the bullet, she remains unharmed, and in her place Kaspar is fatally struck. Max admits casting the bullets, and when the hermit speaks up for him, he succeeds in convincing the sovereign of the despair that led to the act. Max gets a year to prove himself and to be able, finally, to marry his Agathe. The theme of the opera is the tender story of a double bass player by the name of Smytchkov, whose clothes are stolen as he is bathing in a river before his evening concert.
There he runs into the daughter of his prince, who is organizing. Her clothes have also disappeared. The unequal pair thus comes together under very unusual circumstances, which leads to very unusual consequences Tales of the misery of the population befallen by plague and famine, and of the machinations of ominous black priests, recede to the outer margins of this longing.
The action and the goal are replaced by a hovering state, by something like the musical movements of the soul. He sets the characters and their statements to music as appearances and events in a musical space that extends into stage space. The text is inserted into the polydimensionality of music following modernity. The possibility of relating even the tiniest details of dance movement to musical structures, fascinated all participants and guided the practical exploration of the material as well as the first attempts of description and conceptional reflection.
The strong contrast between the two figures — Penelope and Odysseus — allows them to communicate with one another on a dramaturgical level. The first two sections expose these independent characters. Though there is no relationship between them with respect to the stage material, the music has a great deal of common motivic material in each section and, in this manner, unites Odysseus and Penelope.
Favart, Ch. Favart and H. Bastienne thinks she has lost her Bastien to a lady from the castle. In desperation she turns to Colas, the village fortune-teller, who advises her to play a jealousy game: She is to appear to treat Bastien the same way he has treated her. She does not suspect that his intentions are completely different. When also visiting Colas, Bastien unsuspectingly informs him of his plans to make Bastienne his wife and must then learn that. Bastienne probably has a new admirer. Colas, however, who alone knows about the misunderstanding, still gives him hope not to give up yet.
At the next meeting of the two lovers, Bastien is seized by his jealousy and threatens to drown. It is only when he confesses his love for Bastienne that she relents and reconciliation begins. The action was set in a space station, however, since this was necessary for the plausibility of the events. Since the scientists encounter these psychological conditions in a personified form and are thus attacked on an emotional level, they react in a way which they are neither prepared nor trained for.
The music fulfills various functions in my opera. Live electronics occupy a special position: the spatial sound simulation developed at IRCAM helps give rise to an element that underscores the surreal character of several scenes. The audience is thus drawn into the sound world of Solaris whenever something happens that is caused by the planets. The audience can distinguish the acoustical contrast between the inexplicable and the confinement of the space station, whose inhabitants can only think and act in a very narrowly delimited framework. Whereas in the earlier work the da capo aria is still the norm, here it is the exception.
Virtually all the numbers begin directly with the voice, without an orchestral prelude, or with only a few bars of it. Moreover, the. Pergolesi fashions his musical ideas in a catchy and succinct form. Their elaboration is spirited. No repetitions or variations occur simply out of formal constraint; they are always dramaturgically motivated. In addition, attempts were made to enforce the conception. Finally, the original musical form had to be restored in all parts. Like the musical theater, the house acts as a soundboard, as an acoustic and architectural element.
Darkness and loneliness color the entire atmosphere and dramaturgy of the text. The three protagonists of the short story are all moving in parallel fashion towards an ending which establishes a beginning at the same time, like an eternal return. It is an erotic and fantastic plot, similar to a thriller.
The action is full of innovative dramatic and literary elements, which acoustically and musically.
In order to develop this spatial acoustic, a new instrument became necessary: the auraphone. This is a stage installation that musically reacts to the protagonists and instrumentalists on the stage. The dramatic development of the auraphone is operated and manipulated by a technician in the hall with a direct link to the score and direction. The hall is present itself in the score in connection with the dramaturgy, gestures, motions and all other parameters in the musical and theatrical space.
The works reflect different. The piece is characterized by the varying structure of its scenes: dramatic, visionary scenes, e. The composer interweaves into the structure of the piece dream sequences with sudden bursts. The result is a deliberate fusion of the various parts into one another. The approximately different productions of the second version prove that the topic is as important as ever and that the work is both artistically rewarding and practicable.
Medea is staying in Colchis. King Aietes has killed Phryxos. He succeeds in a double victory — he retrieves the golden. Together they undertake a journey to Greece. There he meets his childhood sweetheart Kreusa, the daughter of the king, and turns away from Medea. While the two children are taken to the court, Medea is to be expelled and it comes to the grand finale: the monologue on self-knowledge and the liberation of Jason, the Greeks and their children.
The book by the Yiddish author Sholem Asch — is in the tradition of the European picaresque novel and describes the adventures of an outsider who runs aground on the society in which he finds himself and on his incapacity to adapt himself to it. To create the circus and brothel atmosphere of his chamber.
In a pub, the innkeeper is discussing the imminent clearing of the village with the workers, since the brown-coal mines are to be expanded. They are joined by a Chilean who arouses the workers anger because he has obtained a coveted housing allocation. The company veteran Gustav Schwalm also strolls in, along with Dr. Reiniger, who is on his way to Berlin.
He begins to play a sorrowful melody on his flute, which attracts Anna — and they both fall in love. A fight ensues, but the old man helps Stefan and Anna escape. The second part begins with the clearing away following the fight. Stefan and Anna join in. Gustav cannot control his desire for Anna but is knocked down by the old man.
Reiniger lurches onto the scene after being involved in a traffic accident. Having succumbed to the belief in progress, he orders the earth to be ripped up. From further below emerge the Black Queen and the portrait. Reiniger is swallowed up by the. Stefan, who has since forgotten Anna, loses his eyesight upon gazing at the portrait, and the old man then becomes his guide. Its point of departure is pure stage setting, out of which develops spoken theater, melodrama, operatic elements and oratorical images.
Ultimately the action on stage freezes and turns to pure orchestral music. There is also a separate concert version of the closing section. Peter, near exhaustion, fears that his beloved Anila is among the dead. He asks his friend to help him, but Heinz abandons him without further ado. Heinz then finds refuge in a barn, where he is tended to by a young woman named Rosalie. He is so tormented by nightmares that he cannot even find. When everyone accuses Heinz of being guilty, he confesses and admits that he did not help someone who needed him.
He ultimately climbs the gate, and impales himself on the spikes. Un-texted, non-staged orchestral pieces bracket three staged sections: Nuut — Scene 2 — The virtually calm eye of the tornado — Scene 4 — Inseparable — Scene 6 — La ira pura. Consequently, only scenes 2, 4 and 6 are based on the libretto. Joining this complex with. The Good God of Manhattan assumes the right to play the role of destiny and forcibly separate the lovers, since their burning passion runs.
A major role is played by a chorus that provides grotesque commentaries. It is a work in which everything seems to be in permanent flow and change. The Arabs are becoming increasingly restless under colonial rule. Said and his mother are so poor that Said is only able to marry the least attractive woman in the region, Leila.
Said dreams of moving to France to earn more money. Accused of a theft, however, Said is sent to jail and his mother is excluded from the group of professional mourners. Leila, meanwhile, deliberately becomes a thief in order to be close to her husband. Finally, the action takes place on three levels: the first shows Said and Leila in jail. The second depicts a French military parade.
The third presents Madame Blankensee who ends her marriage with a well-aimed gunshot. The revolution claims many victims on both sides. The plot is absurd, but at the same time, unfortunately extremely realistic. Politics and the administrative system start development aid measures, but after countless adaptational and organizational processes, something comes out that no longer has anything at all to do with the original needs, but becomes merely a career aid.
About three official limousines whose chauffeurs transport to the Third World aid supplies that nobody there needs. As far as my writing for the voices of the soloists is concerned, my starting point was the text and its rhythm. That also means, of course, that I have had to deal very much with the respective characters, developing a specific sound language for each one.
The chauffeurs, for instance, are, in fact, of three very different types. The one who constantly raves about love has a different sound aesthetic from the bass, somewhat disappointedly relating his life of divorce and alimony. Furthermore: composers, painters or writers should only sit down to work after they have been moved themselves. While the story of the little matchstick girl is very moving, she was not interested in moving anyone. She herself was moved — by cold, fear, abandonment, a hopeless longing for home — to take her matches and rub them against the cold wall.
She acted alone, against her orders, and wasted the goods, burning them in search of warmth. The village lay deep in snow. There was nothing to be seen of Castle Mount, for mist and darkness surrounded it, and not the faintest glimmer of light showed where the great castle lay. At the center of the work is the surveyor K. The work revolves around the dramatic events in the life of the young Crown Prince Frederick. This led to a very close and intimate relationship with Lieutenant Hans Hermann von Katte, who was both eight years older and gifted in music as well as literature. His plan failed, however,.
As his confidant, Katte was sentenced to death. Crown Prince Frederick was forced to witness the beheading of his close friend. A collage of various sequences from childhood, reality and dream situations is created with the imprisonment at the starting point. I stabbed a guy in the belly with a screwdriver. Nobody can break me. And some kind of social worker. Comes outta our taxes. So ya gotta fight. Ya gotta keep at it. Ya gotta survive. I know my way aroun. I swiped it. Probably just the usual boring crap. But life is even worse.
Noislessly and silently they move through the country. Young Christoph Rilke von Langenau has joined his troops to fight in the war against the Turks. He befriends the Marquis and together they ride through a land of endless vastness until they finally encounter the enemy and are forced to go apart. The Marquis gives him a rose petal at his departure, a gift the young man constantly carries with him. The horrors he witnesses weigh heavily upon the young cornet, and visions lead him to the verge of madness.
While spending the night in a castle, Rilke enjoys a few hours of peace and rest for the first time in months. An enemy attack shatters the idyll: the palace goes up in flames, Rilke rushes into the battle and dies. It has since become an inseparable component of the work. One evening, shortly after their wedding, a couple is seized by an incredible, existential feeling of hunger. When his wife questions him about this, he tells her about a robbery in a bakery which he committed with a buddy during his student days, and which went awry in a most unusual manner.
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Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Oct 03, Cornelia rated it it was amazing. This review has been hidden because it contains spoilers. To view it, click here. Good again, but not as good as the last one - though this is just the first part of the original volume 7, so I'm looking forward to the second part, how the announced Malazaan army meets the Letheri for the first time.
No idea what I was thinking the last time.
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Dec 10, Christoph Kappel rated it it was amazing Shelves: das-spiel-der-goetter. Fantastic book and a nice sequel to the series. I am so curious how the author will knit all ends up. Kaothe rated it it was amazing Aug 02, Martin rated it it was amazing Mar 03,