Opera in German
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| - | '''Ernest van Dyck''' (April 2, 1861 - August 31, 1923) was a [[Belgium|Belgian]] dramatic [[tenor]]. | + | '''Opera in German''' is the [[opera]] of the [[German-speaking Europe|German-speaking countries]], most notably Germany (or the historic states which now form the Federal Republic of Germany) and Austria. This article focuses on opera in the [[German language]], with brief mentions of German or Austrian composers who wrote opera primarily in other languages, as well as non-native composers who wrote operas in German (such as the Italian [[Ferruccio Busoni]]). |
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| + | German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was [[Jacopo Peri]]'s ''Dafne'' of 1598. In 1627, [[Heinrich Schütz]] provided the music for a German translation of the same [[libretto]]. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as [[Handel]] and [[Gluck]] opting to work in foreign traditions such as [[opera seria]]. Some Baroque composers, such as [[Reinhard Keiser]], did try to challenge Italian dominance, but it was only with the appearance of [[Mozart]] that a lasting tradition of serious German-language opera was established. Mozart took the simple, popular genre of ''Singspiel'' and turned it into something far more sophisticated. [[Beethoven]] followed his example with the idealistic ''[[Fidelio]]''; and with ''[[Der Freischütz]]'' of 1821, [[Carl Maria von Weber|Weber]] established a uniquely German form of opera under the influence of [[Romanticism]]. Weber's innovations were eclipsed by those of [[Richard Wagner]], one of the most revolutionary and controversial figures in musical history. Wagner strove to achieve his ideal of opera as "music drama", eliminating all distinction between [[aria]] and [[recitative]], employing a complex web of [[leitmotif]]s and vastly increasing the power and richness of the orchestra. Wagner also drew on [[Germanic mythology]] in his huge operatic cycle ''[[Der Ring des Nibelungen]]''. After Wagner, opera could never be the same again, so great was his influence. The most successful of his followers was [[Richard Strauss]]. Opera flourished in German-speaking lands in the early 20th century in the hands of figures such as [[Hindemith]], [[Busoni]] and [[Kurt Weill]] until [[Adolf Hitler]]'s seizure of power forced many composers into silence or exile. After World War II young opera writers were inspired by the example of [[Schoenberg]] and [[Alban Berg|Berg]] who had pioneered [[modernism|modernist]] techniques such as [[atonality]] and [[serialism]] in the earlier decades of the century. Composers at work in the field of opera today include [[Hans Werner Henze]] and [[Karlheinz Stockhausen]]. | ||
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| + | As the names of Mozart, Weber, Wagner, Richard Strauss and Berg indicate, Germany and Austria have one of the strongest operatic traditions in European culture. This is also evidenced by the large number of opera houses, particularly in Germany where almost every major city has its own theatre for staging such works, as well as internationally renowned operatic events such as the [[Salzburg Music Festival]]. | ||
| - | A native of [[Antwerp]], van Dyck studied both [[law]] and [[journalism]] before deciding to become an opera singer. He studied in Paris with Saint Yves-Bax before making his debut at the [[Théâtre Eden]] on May 3, 1887; the occasion marked the French [[premiere]] of ''[[Lohengrin (opera)|Lohengrin]]''. Intensive study with [[Felix Mottl]] followed before he appeared as [[Parsifal]] in [[Bayreuth]] in 1888, with great success. The [[Vienna]] Opera soon engaged him, and he remained with the company for a decade, also making guest appearances throughout Europe; among these, he featured in the world premiere of [[Wilhelm Kienzl]]'s ''[[Der Evangelimann]]'' in London in 1897. Van Dyck made his American debut on November 29, 1898, singing [[Tannhäuser (opera)|Tannhäuser]] at the [[Metropolitan Opera]]. He stayed in New York City until the 1901-02 season, singing not only [[Richard Wagner|Wagner]] roles but also parts in [[French opera]]s. In 1907 he managed a season of [[German opera]] at [[Royal Opera House|Covent Garden]], and in 1914 he appeared in the first Parisian performance of ''Parsifal''. | ||
| - | Van Dyck died in [[Berlaer-Lez-Lierre]] in 1923. | ||
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Opera in German is the opera of the German-speaking countries, most notably Germany (or the historic states which now form the Federal Republic of Germany) and Austria. This article focuses on opera in the German language, with brief mentions of German or Austrian composers who wrote opera primarily in other languages, as well as non-native composers who wrote operas in German (such as the Italian Ferruccio Busoni).
German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peri's Dafne of 1598. In 1627, Heinrich Schütz provided the music for a German translation of the same libretto. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria. Some Baroque composers, such as Reinhard Keiser, did try to challenge Italian dominance, but it was only with the appearance of Mozart that a lasting tradition of serious German-language opera was established. Mozart took the simple, popular genre of Singspiel and turned it into something far more sophisticated. Beethoven followed his example with the idealistic Fidelio; and with Der Freischütz of 1821, Weber established a uniquely German form of opera under the influence of Romanticism. Weber's innovations were eclipsed by those of Richard Wagner, one of the most revolutionary and controversial figures in musical history. Wagner strove to achieve his ideal of opera as "music drama", eliminating all distinction between aria and recitative, employing a complex web of leitmotifs and vastly increasing the power and richness of the orchestra. Wagner also drew on Germanic mythology in his huge operatic cycle Der Ring des Nibelungen. After Wagner, opera could never be the same again, so great was his influence. The most successful of his followers was Richard Strauss. Opera flourished in German-speaking lands in the early 20th century in the hands of figures such as Hindemith, Busoni and Kurt Weill until Adolf Hitler's seizure of power forced many composers into silence or exile. After World War II young opera writers were inspired by the example of Schoenberg and Berg who had pioneered modernist techniques such as atonality and serialism in the earlier decades of the century. Composers at work in the field of opera today include Hans Werner Henze and Karlheinz Stockhausen.
As the names of Mozart, Weber, Wagner, Richard Strauss and Berg indicate, Germany and Austria have one of the strongest operatic traditions in European culture. This is also evidenced by the large number of opera houses, particularly in Germany where almost every major city has its own theatre for staging such works, as well as internationally renowned operatic events such as the Salzburg Music Festival.
