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Semper Matinee & Soiree

Wer reitet so spät (»Who rides so late«)

»It’s love that makes the world go round«

»A Morning for Richard Strauss«

Nimm mein Herz (»Take my heart«)

Matinee with ballads by Carl Loewe, Franz Schubert, Robert Schumann, Johannes Brahms and Hugo Wolf, among othersSoiree with works by W. S. Gilbert & Arthur Sullivan, Liza Lehmann, Jacques Offenbach and Gioachino RossiniMatinee recital with songs by Richard Strauss and his contemporariesSlavic art songs by Pyotr I. Tchaikovsky, Bedřich Smetana, Antonín Dvořák, Leoš Janáček, Mikhail Glinka and Modest Mussorgsky

 

Oct
2022

Jan
2023

Apr
2023

Jun
2023

Info
  • Starting Time: 11 am
  • No intermission

  • Venue:  Semperoper Dresden
    Info
    • Starting Time: 8 pm
    • No intermission

    • Venue:  Semperoper Dresden
      Info
      • Starting Time: 11 am
      • No intermission

      • Venue:  Semperoper Dresden
        Info
        • Starting Time: 8 pm
        • No intermission

        • Venue:  Semperoper Dresden
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          The piece is also part of

            Sub / Packages

          The piece is also part of

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          The piece is also part of

          The ballad – originally the name for a dance song of the troubadours – became increasingly popular amongst 18th-century German poets; so much so, in fact, that Friedrich Schiller, in a lively discussion with Johann Wolfgang von Goethe, was moved to proclaim 1797 the »Year of the Ballad«. Many ballads that sprang from this poetic friendship eventually served as models for compositions in the 19th century – the most famous is certainly »Der Erlkönig« by Goethe, which was set to music by both Franz Schubert and the lesser known Carl Loewe (1796-1869). The latter also composed settings of »Der Zauberlehrling« (»The Sorcerer’s Apprentice«) or Adelbert von Chamisso’s »Frauenliebe und -leben« (»A Woman’s Life and Love«), before Robert Schumann wrote his version. The matinee recital »Wer reitet so spät« will explore this rich seam of poetic ballads and their settings, thus bringing to a large audience songs which, for many decades, were regularly performed in private homes by amateur music lovers. 

          The soiree »It’s love that makes the world go round« is dedicated to the highly amusing and entertaining music of the Britain Isles. The focus is on the composer Arthur Sullivan (1842-1900) and his librettist W. S. Gilbert (1836-1911), who together continued the musical-satirical path trod by Gioachino Rossini and Jacques Offenbach with such works as »The Pirates of Penzance«, »H.M.S. Pinafore« or »Patience«, spiced with classic British wordplay, humour and satire. The singer, pianist and composer Liza Lehmann (1862-1918) was also gifted with great humour; highly successful in her day, her rediscovery is long overdue. Once regarded as one of the Britain’s leading composers, she not only appeared on stage as a performer and composer of ditties and song cycles, but was above all known as the author of satirical-comic stage works that enjoyed huge success in the Anglo-American world, such as »Sergeant Brue. A musical farce.«, »The Vicar of Wakefield«, based on the novel by Oliver Goldsmith, or »The Happy Prince« and »The Selfish Giant«, both inspired by the stories of Oscar Wilde. Under the musical direction of Naomi Shamban, members of the opera ensemble will embark on a musical voyage of discovery, during which they will uncover musical treats from both sides of the English Channel.

          An active composer for almost eight decades of his long life, Richard Strauss left behind a rich body of work. He exerted a huge influence on the music of his time, not just as a celebrated composer but also in various administrative functions. But how did the composer get along with his musical contemporaries? As regards the musical avant-garde – a group to which he was for a time assigned following the premieres of »Salome« and »Elektra« – he had his difficulties. It was certainly an ambivalent signal when, in May 1938, he attended the official Reich Music Days in Düsseldorf, where the exhibition »Degenerate Music« was also being held, to conduct his »Festival Prelude«, Op. 61, as part of the celebrations. The matinee song recital »A Morning for Richard Strauss« will explore the (musical) relationship between Richard Strauss and his contemporaries under the musical direction of Johannes Wulff-Woesten and with members of the Semperoper ensemble.

          Operas by Slavic composers such as the recent new productions of »The Bartered Bride« by Bedřich Smetana and »Rusalka« by Antonín Dvořák as well as the planned new production of »Pique Dame« by Pyotr I. Tchaikovsky are central to the Semperoper’s repertoire.  Now, under the musical direction of Thomas Leo Cadenbach, the Junges Ensemble will explore the rich cultural heritage of Slavic song. The young singers – some of whom themselves come from Eastern Europe – will illuminate the vast melodic and lyrical treasure chest of songs by Bedřich Smetana, Antonín Dvořák and Pyotr I. Tchaikovsky as well as Leoš Janáček, Mikhail Glinka and Modest Mussorgsky.

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