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Der Freischütz
' ( J. 277, Op. 77 ''The Marksman'' or ''The Freeshooter'') is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind, based on a story by Johann August Apel and Friedrich Laun from their 1810 collection ''Gespensterbuch''. It premiered on 18 June 1821 at the Schauspielhaus Berlin. It is considered the first German Romantic opera. The opera's plot is mainly based on August Apel's tale "Der Freischütz" from the ''Gespensterbuch'' though the hermit, Kaspar and Ännchen are new to Kind's libretto. That Weber's tunes were just German folk music is a common misconception. Its unearthly portrayal of the supernatural in the famous Wolf's Glen scene has been described as "the most expressive rendering of the gruesome that is to be found in a musical score". Performance history The reception of ''Der Freischütz'' surpassed Weber's own hopes and it quickly became an international success, with productions in Vienna the same year f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Operas By Carl Maria Von Weber
The German composer Carl Maria von Weber (1786–1826) is best known for his operas, of which he wrote 10 between 1798 and 1826. His first four exist in various states: ''Die Macht der Liebe und des Weins'' ( 1798) is completely lost; two fragments survive for ''Das Waldmädchen'' (1800); the libretto to '' Peter Schmoll und seine Nachbarn'' (1803) is lost; and only three numbers from ''Rübezahl'' ( 1804–05) survive. Weber's mature operas—'' Silvana'' (1810), ''Abu Hassan'' (1811), ''Der Freischütz'' (1821), ''Die drei Pintos'' ( 1820–21), ''Euryanthe'' (1823), ''Oberon'' (1826)—all survive intact; they were all performed within his lifetime, except ''Die drei Pintos'' which was posthumously completed by Gustav Mahler. His contributions to the genre were crucial in the development of German ''Romantische Oper'' (German Romantic Opera) and its national identity, exhibiting much influence on Richard Wagner. ''Der Freischütz'', his most famous and significant work, remain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samael
Samael ( he, סַמָּאֵל, ''Sammāʾēl'', "Venom/Poison of God"; ar, سمسمائيل, ''Samsama'il'' or ar, سمائل, label=none, ''Samail''; alternatively Smal, Smil, Samil, or Samiel) is an archangel in Talmudic and post-Talmudic lore; a figure who is the accuser or adversary (Satan as mentioned in the Book of Job), seducer, and destroyer (Mashhit as mentioned in the Book of Exodus). Although many of his functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel, he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners. He is considered in Midrashic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of ''satans''. Although he condones the sins of man, he remains one of God's servants. He appears frequently in the story of the Garden ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karoline Seidler-Wranitzky
Karoline Seidler-Wranitzky (1790 – 7 December 1872) was a Czech operatic soprano. She notably created the role of Agathe in the world premiere of Carl Maria von Weber's ''Der Freischütz'' in 1821. She was the daughter of composer Anton Wranitzky and niece of composer Paul Wranitzky Paul Wranitzky (Czech: Pavel Vranický, 30 December 1756 – 29 September 1808) was a Moravian-Austrian classical composer. His half brother, Antonín, was also a composer. Life Wranitzky was born in Neureisch ( Nová Říše) in Habsburg Mora .... 1790 births 1872 deaths Czech operatic sopranos 19th-century Czech women opera singers {{CzechRepublic-opera-singer-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Bass (voice Type)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).; ''The Oxford Dictionary of Music'' gives E2–E4/F4 Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baritone
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek (), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, ''Kavalierbariton'', Verdi baritone, dramatic baritone, ''baryton-noble'' baritone, and the bass-baritone. History The first use of the term "baritone" emerged as ''baritonans'', late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th-century Italy the term was all-encompassing and used to describe the averag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Type
A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points ('' passaggi''). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra-Comique
The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gabrielle Krauss
Marie-Gabrielle Krauss (24 March 18426 January 1906) was an important 19th century Austrian-born French operatic soprano. She created major roles in operas by Anton Rubinstein, Charles Gounod, Camille Saint-Saëns, Auguste Mermet, Clémence de Grandval, Errico Petrella, Antônio Carlos Gomes and Émile Paladilhe. She also created roles in local premieres of Verdi and Wagner operas. Krauss was a leading soprano at the Paris Opera for 13 years, and also sang with great success in Italy and Russia. Biography Krauss was born in Vienna, Austria, in 1842, and studied at the Vienna Conservatory and privately with Mathilde Marchesi''Grove's Dictionary of Music and Musicians'', 5th ed (1954), Vol. IV, p. 838: Krauss, Gabrielle (whose birthday she shared). Her first important appearance was in Schumann's cantata '' Das Paradies und die Peri'' in Vienna on 1 March 1858, when she was still only 15 years old. In July 1859, she made her operatic debut as Mathilde in Rossini's ''William Tel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bolshoi Theatre
The Bolshoi Theatre ( rus, Большо́й теа́тр, r=Bol'shoy teatr, literally "Big Theater", p=bɐlʲˈʂoj tʲɪˈatər) is a historic theatre in Moscow, Russia, originally designed by architect Joseph Bové, which holds ballet and opera performances. Before the October Revolution it was a part of the Imperial Theatres of the Russian Empire along with Maly Theatre (Moscow), Maly Theatre (''Small Theatre'') in Moscow and a few theatres in Saint Petersburg (Hermitage Theatre, Bolshoi Theatre, Saint Petersburg, Bolshoi (Kamenny) Theatre, later Mariinsky Theatre and others). The Bolshoi Ballet and Bolshoi Opera are among the oldest and best known ballet and opera companies in the world. It is by far the world's biggest ballet company, with more than 200 dancers. The theatre is the parent company of The Bolshoi Ballet Academy, a leading school of ballet. It has a branch at the Bolshoi Theater School in Joinville, Brazil. The main building of the theatre, rebuilt and renovat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
