A production of the LA Opera House ground-breaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. Walter Braunfels, a strong advocate of neo-Romanticism, made significant contributions to the world of twentieth-century opera.
Yet, he lost his rightful places in twentieth-century opera houses. His music inhabits a very different world, both geographically and aesthetically, nurtured far from Vienna’s charged, multi-cultural atmosphere. Deeply rooted in German Classicism and Romanticism, he conceals none of his admiration for the inherited past and sees himself as building on its fundamentals. By almost any standard, he was a conservative. The premiere of Die Vögel in Munich in 1920, under the direction of Bruno Walter (who still lauded the work as late as 1950), was a huge public and critical success. The number of productions and performances in the following years was staggering. However, in the post- World War II years of his “rehabilitation,” Braunfels never regained a foothold. Die Vögel was not produced again until 1971 in Karlsruhe and 1994 in Berlin.
Aktualisiert: 2023-05-18
> findR *
A production of the LA Opera House ground-breaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. Walter Braunfels, a strong advocate of neo-Romanticism, made significant contributions to the world of twentieth-century opera.
Yet, he lost his rightful places in twentieth-century opera houses. His music inhabits a very different world, both geographically and aesthetically, nurtured far from Vienna’s charged, multi-cultural atmosphere. Deeply rooted in German Classicism and Romanticism, he conceals none of his admiration for the inherited past and sees himself as building on its fundamentals. By almost any standard, he was a conservative. The premiere of Die Vögel in Munich in 1920, under the direction of Bruno Walter (who still lauded the work as late as 1950), was a huge public and critical success. The number of productions and performances in the following years was staggering. However, in the post- World War II years of his “rehabilitation,” Braunfels never regained a foothold. Die Vögel was not produced again until 1971 in Karlsruhe and 1994 in Berlin.
Aktualisiert: 2023-05-18
> findR *
The first fully-staged productions of the LA Opera House groundbreaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. A double bill of one-act operas: Viktor Ullmann’s Der zerbrochene Krug, taken from a comedy by the Romantic German poet Heinrich von Kleist, and Alexander Zemlinsky’s Der Zwerg, based on Oscar Wilde’s powerful tragedy The Birthday of the Infanta. The music of Alexander Zemlinsky and Viktor Ullmann remained buried for decades in the wake of the destruction wrought by the policies of the Nazi regime. Dozens of composers and thousands of compositions are still largely unknown to musicians and lovers of classical music and opera. “Full recognition of their works and genius still awaits Alexander Zemlinsky and Viktor Ullmann, more than sixty-five years after their deaths. Their works, in their very different ways, are powerful, vibrant, life-affi rming and tragic in turn. They pulsate with the complexity of the human condition. Their lives and personal histories were tragic, but their music transcends it all. It is for us to appreciate their story in its full historic and artistic context.” James Conlon
Aktualisiert: 2023-05-18
> findR *
The first fully-staged productions of the LA Opera House groundbreaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. A double bill of one-act operas: Viktor Ullmann’s Der zerbrochene Krug, taken from a comedy by the Romantic German poet Heinrich von Kleist, and Alexander Zemlinsky’s Der Zwerg, based on Oscar Wilde’s powerful tragedy The Birthday of the Infanta. The music of Alexander Zemlinsky and Viktor Ullmann remained buried for decades in the wake of the destruction wrought by the policies of the Nazi regime. Dozens of composers and thousands of compositions are still largely unknown to musicians and lovers of classical music and opera. “Full recognition of their works and genius still awaits Alexander Zemlinsky and Viktor Ullmann, more than sixty-five years after their deaths. Their works, in their very different ways, are powerful, vibrant, life-affi rming and tragic in turn. They pulsate with the complexity of the human condition. Their lives and personal histories were tragic, but their music transcends it all. It is for us to appreciate their story in its full historic and artistic context.” James Conlon
Aktualisiert: 2023-05-18
> findR *
The first fully-staged productions of the LA Opera House groundbreaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. A double bill of one-act operas: Viktor Ullmann’s Der zerbrochene Krug, taken from a comedy by the Romantic German poet Heinrich von Kleist, and Alexander Zemlinsky’s Der Zwerg, based on Oscar Wilde’s powerful tragedy The Birthday of the Infanta. The music of Alexander Zemlinsky and Viktor Ullmann remained buried for decades in the wake of the destruction wrought by the policies of the Nazi regime. Dozens of composers and thousands of compositions are still largely unknown to musicians and lovers of classical music and opera. “Full recognition of their works and genius still awaits Alexander Zemlinsky and Viktor Ullmann, more than sixty-five years after their deaths. Their works, in their very different ways, are powerful, vibrant, life-affi rming and tragic in turn. They pulsate with the complexity of the human condition. Their lives and personal histories were tragic, but their music transcends it all. It is for us to appreciate their story in its full historic and artistic context.” James Conlon
Aktualisiert: 2021-04-28
> findR *
A production of the LA Opera House ground-breaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. Walter Braunfels, a strong advocate of neo-Romanticism, made significant contributions to the world of twentieth-century opera.
Yet, he lost his rightful places in twentieth-century opera houses. His music inhabits a very different world, both geographically and aesthetically, nurtured far from Vienna’s charged, multi-cultural atmosphere. Deeply rooted in German Classicism and Romanticism, he conceals none of his admiration for the inherited past and sees himself as building on its fundamentals. By almost any standard, he was a conservative. The premiere of Die Vögel in Munich in 1920, under the direction of Bruno Walter (who still lauded the work as late as 1950), was a huge public and critical success. The number of productions and performances in the following years was staggering. However, in the post- World War II years of his “rehabilitation,” Braunfels never regained a foothold. Die Vögel was not produced again until 1971 in Karlsruhe and 1994 in Berlin.
Aktualisiert: 2021-05-17
> findR *
A production of the LA Opera House ground-breaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. Walter Braunfels, a strong advocate of neo-Romanticism, made significant contributions to the world of twentieth-century opera.
Yet, he lost his rightful places in twentieth-century opera houses. His music inhabits a very different world, both geographically and aesthetically, nurtured far from Vienna’s charged, multi-cultural atmosphere. Deeply rooted in German Classicism and Romanticism, he conceals none of his admiration for the inherited past and sees himself as building on its fundamentals. By almost any standard, he was a conservative. The premiere of Die Vögel in Munich in 1920, under the direction of Bruno Walter (who still lauded the work as late as 1950), was a huge public and critical success. The number of productions and performances in the following years was staggering. However, in the post- World War II years of his “rehabilitation,” Braunfels never regained a foothold. Die Vögel was not produced again until 1971 in Karlsruhe and 1994 in Berlin.
Aktualisiert: 2021-04-28
> findR *
The first fully-staged productions of the LA Opera House groundbreaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. A double bill of one-act operas: Viktor Ullmann’s Der zerbrochene Krug, taken from a comedy by the Romantic German poet Heinrich von Kleist, and Alexander Zemlinsky’s Der Zwerg, based on Oscar Wilde’s powerful tragedy The Birthday of the Infanta. The music of Alexander Zemlinsky and Viktor Ullmann remained buried for decades in the wake of the destruction wrought by the policies of the Nazi regime. Dozens of composers and thousands of compositions are still largely unknown to musicians and lovers of classical music and opera. “Full recognition of their works and genius still awaits Alexander Zemlinsky and Viktor Ullmann, more than sixty-five years after their deaths. Their works, in their very different ways, are powerful, vibrant, life-affi rming and tragic in turn. They pulsate with the complexity of the human condition. Their lives and personal histories were tragic, but their music transcends it all. It is for us to appreciate their story in its full historic and artistic context.” James Conlon
Aktualisiert: 2021-05-17
> findR *
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