Often bringing the unforgettable late-career work of Hans Hotter to mind, Stensvold's vocalism is no longer wholly steady, but his intonation remains exact and his dramatic instincts unimpeded. The simple subject canvas opens up a rich world of ideas, and in the language of symbols it tells of the birth of a personality through the struggle for its soul with dark forces. The complicated psychic experience of the Empress runs from her dream of the Emperor turning to stone; and lets her find the reason for her dejection, finally in her relationship to her mysterious father Kerkobad. Young couples — their unborn children — form a circle around the stage. Richard Strauss: Man, Musician, Enigma. He and Varady also have hands down the best diction of the lot.
The self-pity and the genuine love that stand side by side in Barak's wife find their counterpart in the love-music she sings to the harsh words she hurls at her husband. The Dyer is the most approachable of the leading vocal parts, but again the orchestration is very heavy and requires a baritone with sufficient stamina to last the opera's three hours and fifteen minutes. Hofmannsthal stuffed the plot full of parable and symbol, so much so that he spent most of his time trying to figure out exactly what he had. In the meantime, the Empress dreams of her husband slowly turning into stone and realizes that she indeed loves him. Burton So the stage design needs to hint at this ambiguous sub-text.
The opera was finished in 1915, during the First World War, but had to wait for its premiere until 1919. And these are the creators. The Nurse is pleased at this as she despises all that is human. But in almost every Strauss work, one finds a transcendental, mystical layer, as well as great psychological probing in the operas. This section does not any. His accounts of 'Falke, Falke, du wiedergefundener' and the harrowing 'O weh, Falke, o weh! She knows: she is being called to judgement. Today, the opera is considered by some to be Strauss's finest work in the genre, while others disagree.
Not by chance were von Hofmannsthal and Strauss contemporaries of Nietzsche and Freud, who opened the door to Europeans to the world of the subconscious. The Nurse a sinister, Mephistophelian figure who has followed the Empress from the world of demons tells her that she will have to take a shadow from some mortal. But if you love , you'll have to come to terms with the work -- it stands at the center of his oeuvre and remains his most monumental and imposing work -- and then the question becomes which one you should hear. An earthquake splits the ground and Barak and his wife are swallowed into the earth. He has had a magnificent day at the market, selling all his goods, and has invited everyone to celebrate.
They rise above, trying to find each other. He and Hofmannsthal worked on music and words in parallel, each receiving inspiration from the other. The Nurse rejoices — the pact has come into force. Barak is no longer young, but he is hale and hearty, as an ox. In the course of this performance, German soprano Sabine Hogrefe verifies the legitimacy of her answering to that description.
The river overflows its banks into the house, and the Empress and the Nurse leave on a magic boat. Simply put, she sets a new, drastically elevated standard for recorded Ammen. In her efforts to create this shadow, she undergoes a series of painful tests. Conducting Die Frau ohne Schatten requires an unique skill set, but the attention to details of orchestral timbres, rhythmic precision, and cohesion between stage and pit that are invaluable in Mozart, Verdi, Wagner, and Puccini scores are no less paramount in Die Frau ohne Schatten. The peculiar marvel of the opera is that, from an interpretive perspective, the points at which it begins and ends are different for every artist who performs it and every listener who hears it. The scene changes, music that can easily dissolve into cacophony, are handled with unerring attention to their harmonic progressions: Weigle imparts a sense of knowing where the music started and to where it leads.
Likewise, the well-integrated ensemble of Kinderstimmen— Bock-Sill Kim, Camelia Suzana Peteu, Gunda Boote, Jianhau Zhu, and Christiane Maria Waschk—might stir the maternal instincts of the most reluctant mother with their rendition of 'Mutter, Mutter, laß uns nach hause! In contrast to the quickly-moving and , it includes extended monologues and scenes. Muß dies geschehen vor meinen Augen? Phantom shadows effect a nightmare quality, reflecting the subconscious of the protagonists. The voice of one of the spirits calls them upwards. This is a studio recording and has all the merits of the best of its kind. The Bohm also has Birgit Nilsson in wonderful form as the Dyer's Wife. The Dyer's Wife also calls for a soprano with immense sound to be heard over heavily orchestrated passages.
In a performance in a thousand , Welser-Möst elicited passionate, luxuriant sounds from his Vienna State Opera Orchestra. She is between two worlds: one that does not wish to let her go, and one that will not accept her. The opera began as the follow-up to that great success of the Strauss-Hofmannsthal collaboration, Der Rosenkavalier. I regard opera, at least in the United States, more as a vocal roller derby than as, ideally, drama. Like Baumgartner, Fritz sings rather than shouting his music, and the benefits to both Strauss and Hofmannsthal are phenomenal. However, despite Hofmannsthal's initial rush of enthusiasm for the project, it took him almost six years to come up with the libretto, and he resisted Strauss's proddings to hurry up. The life-changing trajectory of Act Two draws from Hogrefe dazzling accounts of 'Ich weiß von keinem Manne außer ihm' and 'Meinen Pantoffel in dein Gesicht,' the sinewy brawn of her singing contrasting with the poetic wonder of her 'Es gibt derer, die bleiben immer gelassen.
The same tone reverberates in her meteoric 'Fressendes Feuer in ihr Gebein! A slight huskiness brushes the voice, dramatically appropriate to the character, but van Dam remains master of the role — one of the few Baraks who comes across as the best of humanity, rather than a sanctimonious drip. Simply in terms of range and tessitura, it is a hellishly demanding rôle, essentially one for a lady with the range of a contralto, the sensibilities of a lyric mezzo-soprano, and the power and stamina of a dramatic soprano—in short, Erda, Carmen, and Isolde in a single throat. The children represent that love and, in their role as posterity, the triumph over death. Animals representing characters or aspects of them haunt the stage — their symbolism is explained in the programme, which you will definitely need to make any sense of what's happening on stage. Heavy mists descend all around. Rene Kollo as the Emperor is, well, Kollo, which means some of it is good and some coarse and ill-considered, but where it matters most, in his two big arias, he comes up trumps.
In the symbols of the play, the Empress, the daughter of the spirit king and now caught between the spirit kingdom and the human realm, has no shadow; that is, she can't bear children. When images of unborn children in the womb were projected on stage, I found myself rolling my eyes. The poetry of Stensvold's account of 'Mir anvertraut, daß ich sie hege, daß ich sie trage' in Act Three is complemented by the unfettered joy of his singing of 'Steh nur, ich finde dich' in the opera's final scene, his top Fs and Gs demonstrative of Barak's exultation at being reunited with his beloved wife. These also afflict to some extent Behrens as the Dyer's Wife. Hans Hopf Kaiser , Leonie Rysanek Kaiserin , Elisabeth Hongen Amme , Kurt Böhme Geisterbote , Judith Hellwig Stimme des Falken , Harald Pröglhöf Einäugige , Oskar Czerwenka Einarmige , Murray Dickie Bucklige , Paul Schöffler Barak , Hilde Rössel Majdan Stimme von oben , Emmy Loose Ein Hüter.