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Now here's a little-known opera....


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Author Topic: Now here's a little-known opera....  (Read 662 times)
Neil McGowan
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« Reply #15 on: February 20, 2012, 10:58:18 am »

I rather prefer Stravinsky's telling of the Oedipus tale, personally Smiley

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ahinton
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« Reply #16 on: February 20, 2012, 11:18:42 am »

I rather prefer Stravinsky's telling of the Oedipus tale, personally Smiley


It does little for me, I fear (but then what most people would probably regard as a disproportionate amount of IS doesn't either), although when sung like this...(!!!)
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Neil McGowan
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« Reply #17 on: February 20, 2012, 11:49:21 am »

what most people would probably regard as a disproportionate amount of IS doesn't either

I'll willing have the bits you don't want Smiley

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ahinton
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« Reply #18 on: February 20, 2012, 02:50:55 pm »

what most people would probably regard as a disproportionate amount of IS doesn't either
I'll willing have the bits you don't want Smiley
You're more than welcome, as long as I can retain those that I do...


And an inflated and unjustifiable banker's bonus to you, too!...
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t-p
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« Reply #19 on: February 20, 2012, 10:03:29 pm »

I don't know why they will not stage Rake's progress more. I enjoyed the clip very much. It is difficult to understand why some operas are neglected as much.
Here we have yet another La Bohem in Cork.
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Neil McGowan
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« Reply #20 on: February 21, 2012, 11:05:51 am »

I don't know why they will not stage Rake's progress more. I enjoyed the clip very much. It is difficult to understand why some operas are neglected as much.
Here we have yet another La Bohem in Cork.

I fear it all arises from poorly-qualified managements of theatres, who don't know how to attract a decent audience to more varied works.  If you actually ask the public they'll say "oh no, not La Boheme again!"...   but still it comes back over and over again.   Which itself is a pity, because it is a fine work in itself, and we're only over-sated with it.

What I find most worrying of all is how few new works are commissioned and staged.
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t-p
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« Reply #21 on: February 23, 2012, 10:24:23 pm »

There is another little known opera. Itis by Zimmerman and is called Bluthochzeit.

It is written in 12 tone's idiom.
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ahinton
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« Reply #22 on: February 23, 2012, 10:46:02 pm »

There is another little known opera. Itis by Zimmerman and is called Bluthochzeit.

It is written in 12 tone's idiom.
A little confusion here, methinks; it's Fortner, not Zimmermann...
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Neil McGowan
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« Reply #23 on: February 24, 2012, 06:36:22 am »

It is written in 12 tone's idiom.

Sadly, it is.  The composer couldn't think of anything original.
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t-p
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« Reply #24 on: February 24, 2012, 09:09:08 am »

Now I am confused. I think that the opera we are talking about is by Zimmerman.
I couldn't find anything about Forner.
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ahinton
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« Reply #25 on: February 24, 2012, 12:27:21 pm »

Now I am confused. I think that the opera we are talking about is by Zimmerman.
I couldn't find anything about Forner.
Yes, it seems that you are indeed confused! The Youtube file that you posted above displays it as an extract from a work by Wolfgang Fortner, whose dates are 1907-1987 and whose opera dates from 1957; Zimmermann, on the other hand, who lived from 1918 until he took his own life in 1970, seems tnot to have written a work on the same subject, according to the comprehensive works list at http://en.wikipedia.org/wiki/Bernd_Alois_Zimmermann.
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« Reply #26 on: February 24, 2012, 01:44:29 pm »

What a pity that on the "you-tube" there can be only snatches and snippets of operas! That is not really what one wants is it. Perhaps in the not too distant future it will have become possible to construct or synthesize one's own complete performance of a rare but important stage work (such as that Bluthochzeit), using cartoon-like human figures such as presently appear in computer games, and orchestral and vocal music easily and automatically generated from a quick scan of the full score.

I would like to thank Madame t-p for drawing our attention to this.

And Fortner was was he not a much more serious and important personage than Zimmermann.

All Art should be always available should it not? No obstacles!
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t-p
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« Reply #27 on: February 24, 2012, 02:01:16 pm »

My information about Zimmermann and his opera came from an article in Gramophone magazine by Michael McManus. The article is aboutconductor Gunter Wand.   He says that Zimmerman championed works by Baird, Braufels and  BA Zimmermann.  Now re-reading it I can see that I was confused.  He championed Fortner too. There is recording of Fortner's opera by Ginter Wand. This recording is from 1957. 
Thanks to this discussion I understood now who wrote this opera. I also found out names of composers I didn't know before.

Thank you all for your patience and understanding.


I found song cycle of Forner.
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t-p
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« Reply #28 on: February 27, 2012, 06:09:00 pm »

I wonder what people here will think about Korngold opera the "Dead city"



This aria is famous now but I never heard it before.


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Neil McGowan
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« Reply #29 on: February 28, 2012, 08:16:47 am »

Quote
I wonder what people here will think about Korngold opera the "Dead city"

It's a bit like drowning in syrup Smiley 

In small doses I like some of the music from this opera, but I find it hard to sit through in its entirety. I think the principle problem is a very shallow plot, in which nothing really happens.  A man misses his dead wife - and then doesn't.  It's hardly enough to fill 2.5 hours in a theatre. The librettist needed to have included a subplot involving one of the characters, to add a little variety. 

Of the German operas of that era, I greatly prefer Krenek's JONNY SPIELT AUF.  In fact the two operas were competing for a stage production in the same year - Korngold's family connections helped him win this little battle, whereas Krenek was a foreigner regarded with suspicion.

But JONNY is a much better-written piece, not least because it has a well-shaped, interesting libretto with a double plot...  the romance of the composer with the opera-singer (with its setting in an alpine resort at the opening, a nice touch which offers the composer a chance to write atmospheric music), and the fight for the Amati violin between the great maestro and the negro jazz-man (with the chance for Krenek to write the jazz-band into the score as a self-standing entity).  There's also a philosophical undercurrent about whether European art-music is a dead duck, and jazz is the heir-in-waiting?



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