Schreker: Die Gezeichneten. Schreker: Die Gezeichneten 2019-01-10

Schreker: Die Gezeichneten Rating: 6,3/10 815 reviews

Schreker: Die Gezeichneten (page 1 of 2)

Schreker: Die Gezeichneten

Die Handlungen der Hauptfiguren werden letzten Endes nicht klar gemacht. Although Schreker was influenced by composers such as and , his mature style shows a highly individual language, which, although broadly tonal, is inflected with and polytonal passages. Anfänglich teilweise chaotisch wirkend, fügt sich da ein zunehmend bedrohliches Gebilde aus Elementen zusammen, das mit emotionalen Extremzuständen spielt. Die Striche rächen sich, indem sie es dem Dirigenten schwermachen: Sie entlasten das Stück nicht, sondern erhöhen den Überdruck. Metzmacher indulged in sonority rather than rushing forward, which suited this somewhat static production. Nur das Gesicht fehle noch.

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Alfred Muff, Monte Pederson, Laszlo Polgar, Elizabeth Connell, Heinz Kruse, Franz Schreker, Lothar Zagrosek, Deutsches Symphonie

Schreker: Die Gezeichneten

Genau diese Tatsache macht sich die Inszenierung von Krzystof Warlikowski zunutze: Alviano John Daszak betreibt anstatt eines Kunstmuseums einen Boxclub. Ihre mittlerweilen in der Höhe scharf gewordene Stimme passt hervorragend zu dieser Interpretation der ausnützenden Künstlerin. Mit Geschwätzigkeit hat sie nichts zu tun. Elysium expends to fill the entire opera, which is full of images of art that implicate the audience. As Alviano, looking a bit like a Lynchian Elephant Man, he made it through a marathon part singing fairly consistently.

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Schrekers Oper Die Gezeichneten in ZĂĽrich

Schreker: Die Gezeichneten

Austrian Radio's engineers made a superb job of this recording which has now been digitally remastered. Chapeau, der Herr, da muss man sich verneigen! Alviano ist keine Kunstfigur, die sich durch feste Konstanten im Leben auszeichnet. Today he lives at the margins of the repertory, representing an extreme of a kind of overheated yet philosophical early twentieth-century opera that makes Salome look like The Magic Flute. Salvago, completely deranged, stumbles over Tamare's body as he makes his way through the stunned crowd. A fine opera,and a first-rate performance, but no libretto.

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Schrekers Oper Die Gezeichneten in ZĂĽrich

Schreker: Die Gezeichneten

New productions of were staged at the in Berlin and the in 2010, as well as in smaller opera houses in Germany. Akt, wenn Carlotta Alviano zu seiner eigenen Verwunderung als Modell gewählt hat, schafft sie ihm aus Lehm Hände, die ihm fehlen — aber auch nicht echt sind. Sechste Szene Salvago und Carlotta : Carlotta, die herzkrank ist und malt, bittet Salvago, für sie zu stehen. If the third act appeared to take him to his limits, with some rawness on top, it was a small part of a very convincing and satisfying interpretation. Herzog Antoniotto Adorno — Tomasz Konieczny Graf Andrea Vitellozzo Tamare — Christopher Maltman Lodovico Nardi — Alastair Miles Carlotta Nardi — Catherine Naglestad Alviano Salvago — John Daszak Guidobaldo Usodimare — Matthew Grills Menaldo Negroni — Kevin Conners Michelotto Cibo — Sean Michael Plumb Gonsalvo Fieschi — Andrea Borghini Julian Pinelli — Peter Lobert Paolo Calvi — Andreas Wolf Capitano di giustizia — Tomasz Konieczny Ginevra Scotti — Paula Iancic Martuccia — Heike Grötzinger Pietro — Dean Power Ein Jüngling — Galeano Salas Dessen Freund — Milan Siljanov Ein Mädchen — Selene Zanetti 1.

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Alfred Muff, Monte Pederson, Laszlo Polgar, Elizabeth Connell, Heinz Kruse, Franz Schreker, Lothar Zagrosek, Deutsches Symphonie

Schreker: Die Gezeichneten

It should have been a triumph, with such a good conductor and some of the best singers in the business. Some images, however, seem less necessary. She looks for the soul and perhaps she finds it: or perhaps, given her fate, she realises there is none at all, and is better off out of the game entirely. Tamare, who has a crush on Carlotta and who's been running around kidnapping and raping young women in his spare time, finally abducts Carlotta and shows her what she's been missing. In that, encasing herself, she becomes an installation, perhaps an artwork of her own. These performances were hailed by critics as the first-ever performance of a Schreker opera in the.

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Die Gezeichneten (Schreker, Franz)

Schreker: Die Gezeichneten

Her soft-grained soprano has a slight tendency to spread under pressure but she definitely has the voice for the role — the heft of a Brünnhilde combined with the lyricism of a Fiordiligi. Die Partitur wirkt bisweilen wie auseinandergeschnitten und an falschen Seiten zusammengeklebt. Alviano sieht diesmal nicht aus wie der Elefantenmensch von David Lynch. Zagrosek draws dedicated playing and singing from the massive ensemble, and the beautifully balanced sound is of demonstration quality. Not only does she love it, but before she dies she reviles Alviano for his ugliness, so he promptly goes insane. I have not heard Connell give a better performance: she has all Carlotta s glamour, together with a purity of tone and a subtle response to words and phrasing that come close to giving her a soul.

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Franz Schreker

Schreker: Die Gezeichneten

His later operas were far less successful, owing partly to a swing in taste away from late-romantic extravagance and partly to political pressures. Die Oper ZĂĽrich hat eine Digest-Version daraus gemacht. Mit beeindruckend reiner Stimmfarbe scheint sie da ĂĽber einen Regenbogen zu wandeln. Carlotta lies senseless on a bed, while Tamare prides himself on his conquering abilities. At this stage Albrecht was busy with many such revivals.

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Die Gezeichneten

Schreker: Die Gezeichneten

A special mention to Heike Grötzinger as a nicely waspish Martuccia and Dean Power as a lyrical and handsomely-voiced Pietro. Die wenigen Chor-Einsätze waren wie immer professionell vorbereitet und dargeboten Einstudierung: Janko Kastelic. This is a super-old trick, one that Hans Neuenfels even already used in a production of Die Gezeichneten in 1979, but it still works. Christopher Maltman brilliert als stimmgewaltiger Tamare. Product Description As Part of Decca's Acclaimed Entartete German for Degenerate Series Devoted to Either Suppressed Or Forbidden Music During the First Half of the 20th Century, Franz Schreker's Opera Die Gezeichneten The Branded is a Period Masterpiece.

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