4 and Florinda’s melodramas in the second act, which are amongst the most gripping scenes in the opera. Examples of this are Roland’s report of the battle in the ensemble no. Both librettist and composer strove to achieve a seamless transition between text and music. As with most German operas of this time, Fierabras is a number opera with spoken dialogue. 11, which leads into a terrifically fast stretto. At the same time, in Schubert’s music a great deal of the Italian style is heard dressed up in French guise, such as the Rossinian parlando of the pursuers chorus no. Grand marches and choruses provided the framework to the acts, victory celebrations and court scenes with pomp and ceremony fanfares and drum rolls accompany the tumult of battle between Moors and Christians. Kupelwieser’s drama followed the model of the then-popular French “rescue opera”: much of the plot takes place on and off the stage, culminating in large-scale tableaux. This hope was entirely justified, because Josef Kupelwieser, the secretary of the Kärntnertortheater, had written the libretto himelf, based on a medieval myth. Fierobras nach Calderon” would appear shortly. Alfonso and Estrella was not taken up, but on 11 October 1823 the Wiener Allgemeine Theaterzeitung reported that “the first major opera by the very promising Schubert. In 1820 his incidental music Die Zauberharfe and the one-act Die Zwillingsbrüder in Vienna had brought him to public attention proponents of German opera now encouraged him to write a full-length opera. For three years he strove to achieve an operatic success. The “heroic-Romantic” opera Fierabras was composed in 1823 as Schubert’s last major stage work. The edition from the New Schubert Edition makes this possible. Now the opera is being appreciated anew in Salzburg. Schubert’s relationship with musical theatre was not a straightforward one. Illustration: He has abdicated as a knight: Fierabras now runs a beerhouse in Spanish Valladolid (photo: Ricardo Otazo) Publisher: Bärenreiter, performance material available on hire Orchestra: Flauto piccolo, Flauto I, II, Oboe I, II, Clarinetto I, II, Fagotto I, II, Corno I–IV, Tromba I–IV, Trombone I–III, Piatti, Tamburo, Gran Cassa, Timpani, Archi New Schubert Edition II/8/a–cįirst performance using the new edition: Salzburg, Concert Association of the Vienna State Opera Chorus, Vienna Philharmonic, conductor: Ingo Metzmacher, production: Peter SteinĬast: Karl, King of France (bass), Emma, his daughter (soprano), Frankish army commanders: Roland (baritone), Ogier (tenor), Olivier (chorus/spoken part), Gui von Burgund (chorus/spoken part), Richard von der Normandie (chorus/spoken part), Gerard von Mondidur (chorus/spoken part), Eginhard, knight at Karl’s court (tenor), Boland, Hispanic Admiral, Moorish prince (bass), Fierabras, his son (tenor), Florinda, his daughter (soprano), Maragond, in his retinue (mezzo-soprano), Brutamonte, Moorish leader (bass), a Moorish captain (spoken part) – chorus Heroisch-romantische Oper in three actsĮdited by Thomas A.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |