Joseph Mosenthal Videos
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2024-05-21
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Staatskapelle Berlin Jutta Vulpius Vulpius Robert Lauhöfer Otto Nicolai Mosenthal 2014
Provided to YouTube by Believe SAS Die lustigen Weiber von Windsor: "So, jetzt hätt' ich ihn gefangen" (Frau Fluth, Herr Fluth) · Staatskapelle Berlin, Hans Löwlein, Jutta Vulpius, Robert Lauhöfer Nicolai: Die lustigen Weiber von Windsor ℗ The Art Of Singing Released on: 2014-09-05 Composer: Otto Nicolai Author: Salomon Hermann Mosenthal Auto-generated by YouTube.
Fenton Peter Schreier Helen Donath Schunk Bernhard Klee Otto Nicolai Mosenthal Staatskapelle Berlin 1978
Provided to YouTube by Kontor New Media GmbH Die lustigen Weiber von Windsor: Act II: Duett: "Fenton!" · Staatskapelle Berlin · Peter Schreier · Helen Donath · Heinz Schunk · Bernhard Klee Nicolai: Die lustigen Weiber von Windsor ℗ Eterna/Edel Germany GmbH Released on: 1978-01-01 Orchestra: Staatskapelle Berlin Soloist: Peter Schreier Soloist: Helen Donath Soloist: Heinz Schunk Conductor: Bernhard Klee Tenor: Peter Schreier Soprano: Helen Donath Violin / Fiddle: Heinz Schunk Composer: Otto Nicolai Lyricist: Salomon Hermann Mosenthal Music Publisher: Copyright Control Auto-generated by YouTube.
Ignaz Brüll Kreuz Mosenthal 1875
Ignaz Brüll Work: Das goldene Kreuz, opera in two acts, first performance 22 December 1875, Wien. Libretto: Salomon Hermann Mosenthal, after Mélesville. Ouverture Orchestra: Berlin Studio Orchestra Conductor: Kurt Gaebel
Hofoper Shakespeare Bellini Mosenthal Salieri Boito Verdi Reich Fenton Mendelssohn Wagner Robert Heger Edith Mathis Gottlob Frick Gutstein Engen Fritz Wunderlich Friedrich Lenz Lenz Hoppe Gisela Litz Bayerisches Staatsorchester 1836 1841 1845 1847 1849 1963
Painting: "The Picnic" by Carl Spitzweg. History: In 1841, after a period of several years in Italy during which he wrote four Italian operas with mixed success (the best of which - "Il templario" - was presented in an earlier upload), Otto Nicolai took up the post of Kapellmeister at the Vienna Hofoper where he was commissioned to write a German opera. He seems to have been unable to find a subject that satisfied him, revising, in the meantime, his earlier operas. In 1845 he finally decided on an adaptation of Shakespeare's "The merry wives of Windsor", offering the resulting "Die lustigen Weiber von Windsor" for production at the Hofoper, but it was turned down and he had to resign his post. In 1847 he went to Berlin as Kapellmeister at the cathedral and at the Hofoper where he would conduct the highly successful premiere of his opera two years later. Nicolai did not live long, however, to enjoy his triumph, dying of a stroke just two months after the premiere at the age of 38 (similar, in fact, to Bellini who died tragically in a matter of months after the premiere of "I puritani"). However, his opera never lost its place on the German stage, and the charming overture is still popular in the concert hall. Narrative: The libretto treats Shakespeare's story well enough, though Nicolai's poet, Hermann Mosenthal, presents the composer with a text of competence but little more (unlike Defranceschi for Salieri and Boito for Verdi). The main outline of the story is, yet again, preserved: Frau Fluth (soprano) and Frau Reich (mezzo-soprano) (Alice Ford and Meg Page, respectively (why were the surnames changed remains a mystery)) each receive a letter from the titular knight (bass), proclaiming his undying love for them. The women are quick to establish a cunning plan of revenge against the buffoon. On the positive side, the libretto retains practically the whole cast of the bard: the jealous husbands (baritone and bass), the lovers, Anna Reich (soprano) and Fenton (tenor), and Anna's suitors, Sparlich (tenor) and Dr. Cajus (bass), are all present. However, much of the original humor is sadly lost, thus, the invitations of Falstaff to the Fluth's house, Falstaff's progressively growing reluctance to return to the wooing of Frau Fluth after each trick, the numerous disguises are completely left out, though both Salieri and Verdi relished these comedic moments. Still, different musical and dramatic values have shaped Verdi's, Salieri's and Nicolai's readings. Music: While the ever-popular sinfonia is certainly a winning orchestral piece, the work that follows Nicolai's charming prelude is actually just as wonderful and, in most cases, even more inspiring: Nicolai's score sparkles delightfully from start to finish, reminding one immediately of the Mendelssohn we've encountered in the earlier Liederspiels. The writing combines Italianate melodies and German richness of accompaniment, a balance which the young Wagner envisioned but failed to achieve in "Das Liebesverbot" (1836). While the men are rather sparingly characterized (a fault of the original story) and Nicolai's Falstaff is much more subdued than the gargantuan caricature Salieri and Verdi produced, Nicolai still gives each group of characters a quite distinct portrayal: the cunning wives of the title (indeed, they are at the center of the opera) are characterized through congenially light, flirty music, while their dumbfounded husbands and, to an even greater extent, Falstaff himself bluster effectively. Unlike most other versions, Nicolai also lavishes much of his inspiration on the young lovers, Fenton and Anna (whereas the lovers are completely absent from Salieri's reading, while Verdi allots them with a rather small amount of music), whose long Act II scene is easily the opera's best number. But the highlights are, indeed, too numerous: wonderfully madcap confrontations of the husbands and wives in both Act I and Act II, a "pensive" drinking song for Falstaff, as he literally yawns due to the extensive amounts of ale he has consumed; sprightly "fairy" music in Act III. The only quibble one could possibly present is the fact that the libretto somewhat precludes Nicolai from further developing the characters and denies him the opportunity to produce an even greater score. Recording: The presented 1963 recording, conducted with vigor by Robert Heger, leading the clear-voiced Bayerisches Staatsorchester and Chorus, is an almost perfect representation of the opera: three excellent female singers (a young Edith Mathis as Anna being a particular delight), an ideal primo tenor and glowing basses. Falstaff - Gottlob Frick, Fluth - Ernst Gutstein, Reich - Kleth Engen, Fenton - Fritz Wunderlich, Sparlich - Friedrich Lenz, Cajus - Carl Hoppe, Frau Fluth - Ruth-Margret Putz, Frau Reich - Gisela Litz, Anna Reich - Edith Mathis. Hope you'll enjoy :).
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