DGQ-20 is a 1996 compilation album by American musician David Grisman, recorded with his group David Grisman Quintet. Spanning the period from 1976 to fidelio PDF, this triple-CD set offers 39 songs, 18 of which were not released by Grisman before. The album includes both live and studio performances and contains collaborations with Svend Asmussen, Jethro Burns, Vassar Clements and others.
Etude complète d’un ou deux opéras avec le livret intégral en langue originale et traduction française, un commentaire littéraire et musical, un résumé de l’action, des articles de fond sur la genèse, l’histoire de l’œuvre, le profil des personnages, une documentation sur les grandes productions, discographie et vidéographie, iconographie importante.
Many genres are blended here, including classic American pop, instrumental jazz, Klezmer, Latin, folk, bluegrass and classical music. De uiteindelijke versie kent twee actes, de oorspronkelijke versie, getiteld « Leonore », kent er drie. De eerste gereviseerde versie werd op 29 maart 1806 in hetzelfde theater voor het eerst uitgevoerd, opnieuw onder leiding van de componist, met de ouverture Leonora nr. De opera verhaalt hoe Leonore vermomd als gevangenbewaarder genaamd « Fidelio » haar echtgenoot Florestan van de dood redt in een politieke gevangenis. Zie de categorie Fidelio van Wikimedia Commons voor mediabestanden over dit onderwerp. Deze pagina is voor het laatst bewerkt op 16 jun 2017 om 16:43. Gelijk delen, er kunnen aanvullende voorwaarden van toepassing zijn.
Zie de gebruiksvoorwaarden voor meer informatie. Jump to navigation Jump to search This article is about Beethoven’s opera. First two premieres at Theater an der Wien, Vienna. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as Leonore.
The libretto, with some spoken dialogue, tells how Leonore, disguised as a prison guard named « Fidelio », rescues her husband Florestan from death in a political prison. Bouilly’s scenario fits Beethoven’s aesthetic and political outlook: a story of personal sacrifice, heroism, and eventual triumph. This section needs additional citations for verification. The work has a long and complicated history of composition: it went through three versions during Beethoven’s career, and some of the music was first written as part of an earlier, never-completed opera. The distant origin of Fidelio dates from 1803, when the librettist and impresario Emanuel Schikaneder worked out a contract with Beethoven to write an opera. The contract included free housing for Beethoven in the apartment complex that was part of Schikaneder’s large suburban theater, the Theater an der Wien.
The time Beethoven spent on Vestas Feuer was not entirely wasted, as two important numbers from Fidelio, Pizarro’s « ‘Ha! O namenlose Freude » for Leonora and Florestan, both originated as music for Vestas Feuer. Fidelio itself, which Beethoven began in 1804 immediately after giving up on Vestas Feuer, was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. The first version with a three-act German libretto adapted by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly premiered at the Theater an der Wien on 20 November 1805, with additional performances the following two nights. After this premiere, Beethoven was pressured by friends to revise and shorten the opera into just two acts, and he did so with the help of Stephan von Breuning. In this form the opera was first performed on 29 March and 10 April 1806, with greater success.
Further performances were prevented by a dispute between Beethoven and the theatre management. In 1814 Beethoven revised his opera yet again, with additional work on the libretto by Georg Friedrich Treitschke. This version was first performed at the Kärntnertortheater on 23 May 1814, again under the title Fidelio. Beethoven cannot be said to have enjoyed the difficulties posed by writing and producing an opera. In a letter to Treitschke he said, « I assure you, dear Treitschke, that this opera will win me a martyr’s crown.
You have by your co-operation saved what is best from the shipwreck. For all this I shall be eternally grateful to you. The full score was not published until 1826, and all three versions are known as Beethoven’s Opus 72. The first performance outside Vienna took place in Prague on 21 November 1814, with a revival in Vienna on 3 November 1822. In its two-act version, the opera was staged in London on 18 May 1832 at the King’s Theatre, and in New York on 9 September 1839 at the Park Theatre. Fidelio was the first opera performed in Berlin after the end of the World War II, with the Deutsche Oper staging it under the baton of Robert Heger at the only undamaged theatre, the Theater des Westens, in September 1945.
Leonore appears, to the modern individual armed with realism and psychology, irremediably abstract and theoretical. Now that political events in Germany have restored to the concepts of human dignity and liberty their original significance, this is the opera which, thanks to the music of Beethoven, gives us comfort and courage. Certainly, Fidelio is not an opera in the sense we are used to, nor is Beethoven a musician for the theater, or a dramaturgist. We realize that for us Europeans, as for all men, this music will always represent an appeal to our conscience.
On 5 November 1955, the Vienna State Opera was re-opened with Fidelio, conducted by Karl Böhm. This performance was the first live television broadcast by ORF at a time when there were about 800 television sets in Austria. Four weeks later, on 9 November 1989, the fall of the Berlin Wall signalled the end of East Germany’s regime. Beethoven struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions.