Il turco in Italia Programm. Karl V. Premiere am L' Orfeo Programm. L'elisir d'amore Programm. La Cenerentola Programm. La clemenza di Tito Programm. La fanciulla del West Programm. La Favorite Programm. La forza del destino Programm. La Juive Programm. La traviata Programm. Lady Macbeth von Mzensk Programm.
Le nozze di Figaro Programm. Das Programmbuch zu Wolfgang A. Les Contes d'Hoffmann Programm. Lohengrin Programm. Lucia di Lammermoor Programm. Lucrezia Borgia Programm. Luisa Miller Programm. Lulu Programm.
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Macbeth Programm. Madama Butterfly Programm. Manon Lescaut Programm. Mefistofele Programm. Nabucco Programm. Norma Programm. Orlando Paladino Programm. Juli im Prinzregentheater. Otello Programm. Otello alt Programm. Palestrina Programm. Parsifal Programm. Juni im Prinzregententheater. Rigoletto Programm.
Roberto Devereux Programm. Rusalka Programm. Salome Programm. Semiramide Programm.
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Siegfried Programm. Simon Boccanegra Programm. South Pole Programm. Tosca Programm. Tristan und Isolde Programm. Turandot Programm. Un ballo in maschera Programm. Werther Programm. Wozzeck Programm. Programme Ballett. Alice im Wunderland Programm. Anna Karenina Programm. Das Triadische Ballett Programm. Der Nussknacker Programm. Don Quijote Programm. Programmheft zu Don Quijiote. Ein Sommernachtstraum Programm. Ensembleflyer Ballett Programm. Forever Young Programm. Giselle Programm. Programmheft zu Giselle Choreographien: Peter Wright.
Illusionen wie Schwanensee Programm. Jewels Programm. Programmheft zu Jewels Choreographie: George Balanchine. John Cranko Programm.
Junge Choreographen Programm. Kameliendame Programm. Le Corsaire Programm. Les Ballets Russes Programm. Onegin Programm. Programmbuch zu Onegin Choreographie: John Cranko. Paquita Programm. Portrait Richard Siegal Programm. Portrait Wayne McGregor Programm. Raymonda Programm. Programmheft zu Raymonda. Romeo und Julia Programm. Schwanensee Programm. Spartacus Programm. Programmheft zu Spartacus Choreographie: Yuri Grigorovich.
Plakate Oper. Plakat zum 1. Plakat zum 2. Plakat zum 3. Plakat zum 4. Plakat zum 5. Plakat zum 6. Agrippina Plakat. Alceste Plakat. Aus einem Totenhaus Plakat. Bayerische Staatsoper Plakat Plakat. Die Gezeichneten Plakat. Die Sache Makropulos Plakat. Die verkaufte Braut Plakat. Il trittico Plakat. Format: DIN A0. La clemenza di Tito Plakat.
- Rusalka Antonin Dvorak?
- Keeper Of The Light.
- Foreign Language Spanish and English: LEARNING SPANISH AND ENGLISH THROUGH THE ARTS. APRENDIENDO ESPAÑOL E INGLÉS A TRAVÉS DE CANCIONES Y OTRAS ARTES.
- Oper auf Papier - historische Programme, Bilder und Zeitschriften aus meiner Sammlung;
- Programme (Oper).
- American Academy in Berlin Library Catalog Spring 2017.
- Oper auf Papier - historische Programme, Bilder und Zeitschriften aus meiner Sammlung.
La fanciulla del West Plakat. La Favorite Plakat. La forza del destino Plakat. La Juive Plakat. Lady Macbeth von Mzensk Plakat. Le nozze di Figaro Plakat. Plakat zur Premiere von Wolfgang A. Les Indes galantes Plakat. Mefistofele Plakat. Orlando Paladino Plakat. Otello Plakat. Parsifal Plakat. Salome Plakat. Semiramide Plakat. South Pole Plakat. Un ballo in maschera Plakat. Plakate Ballett. Alice im Wunderland Plakat. Anna Karenina Plakat.
BallettFestwoche Plakat. DIN A0. Ballettfestwoche Plakat. Cranko Fest Plakat. Cranko Fest A1 Plakat. Ich habe die Fotos nicht ausgeschnitten und die Werbung auf den Seiten gelassen. Da die Fotos nicht komprimiert bzw. Dass die Seiten manchmal etwas schief angelegt sind, bitte ich zu entschuldigen. Insgesamt wurden diplomatische Freundschaften und Kriegsallianzen auch in der Kulturpolitik vollzogen. Es war der Versuch einer Wiederbelebung des Buffo-Genres - ein Kontrast zum Wagnerschen Ernst und sicher zur Ablenkung von dem die Menschen immer mehr in Mitleidenschaft ziehendem Kriegsgeschehen gedacht.
Weiterhin: 4. Hier noch eine Werbung von der hinteren Umschlagseite. Centro internazionale di studi Riccardo Zandonai. Ich gebe nun zwei Programmhefte der Wiener Oper wieder. Hier das erste Heft. Diese Oper hatte in Wien am Bei Wikipedia kann man nachlesen, dass das Buch erschien. Die Premiere dieser Oper in Wien war am Die Oper wurde in den folgenden vier Jahren insgesamt 34mal gegeben. Danach wurde sie im Jahr noch drei mal gegeben und dann noch zweimal im Jahr Es handlet sich um den Abdruck des letzten von mehreren Teilen, die ich leider nicht kenne.
Sie wurde im Redoutensaal der Oper gegeben. Man kann sie sich als eine Art Kammeroper vorstellen. Genauere Daten sind nicht zu ermitteln. Leo Slezak, Karte aus dem "Ross"-Verlag. Sie stammt vermutlich aus einem Film und datiert von ca. Todestag von Franz Schubert feiererlich begangen. Am Wieder begleitet ihn Otto Schulhof. Leo Slezak Schubert-Abend Seite Leo Slezak Schubert-Abend Danach folgten noch zwei Vortragsgruppen mit Leo Slezak. Der Zugabenteil war wieder sehr reichhaltig. Die zweite Seite des Konzertprogramms vom Galerie an der Seite.
Eine ist offensichtlich nicht benutzt oder nicht abgerissen worden. Leo Slezak - Liederabend vom Einige Programme dieser Liederabende aus den Jahren bis werden im folgenden wiedergegegben. Eintrittskarten Leo Slezak 2. Leo Slezak Konzert 2. Es fanden u. Viktor Ebenstein und ein Konzert mit Pablo Casals.
Leo Slezak Konzert 6. Zuletzt folgte "Er ist's" von Hugo Wolf. Damit umfasste der Zugabenteil sieben Lieder - genau so viele Lieder wie der "offizielle Teil" enthielt. Wurden die vorigen beiden Konzerte von der Konzertdirektion Gutmann veranstaltet, hatte Slezak jetzt zur Konzertdirektion Georg Kugel gewechselt. Leo Slezak Konzert 7. Oktober einen Liederabend in St. Paul, Minnesota. Diese Stadt liegt direkt bei Minneapolis. Ihr Begleiter am Klavier war Frederick Schauwecker.
Insgesamt ein recht kurzes Programm - wobei man nicht weiss, wie ausgiebig der Zugaben-Teil ausfiel. Januar ebenfalls in St. Paul einen Liederabend gab. Weiterhin trat der Geiger Andreas Weissgerber auf. Dazu passt eine Serie von Postkarten aus der Zeit ca. Sie sang von bis an der Wiener Hofoper und wurde von Gustav Mahler verpflichtet.
Er sang von an an der Wiener Oper und war mehr als 25 Jahre einer der Publikumslieblinge. Don Carlos Oktober Es gab auch noch andere interessante Koppelungen, die nicht in Tonaufnahmen dokumentiert sind. Sie wurde geboren und sang von bis an der Berliner Staatsoper. Danach verliert sich ihre Lebensspur. Ein Foto von ihr findet sich weiter unten. Erich von Puttwitz und Gaffron mit der Staatsoper zu tun hatte, konnte ich nicht herausfinden.
Ein gleichnamiger Mann wurde zum Kurdirektor ernannt. Saur] PS. Braunfels mit. Strauss, Dr. Auch als Konzertsopranistin erlangte sie hohes Ansehen. Wahrscheinlich sind von ihrer Stimme keine Schallplatten vorhanden. Dort wirkte sie u. Weinberger mit. An der Wiener Staatsoper war er besonders beliebt; hier war er , und zu Gast.
Sie wirkte in Opernsendungen der deutschen Radiostationen in einer Vielzahl von Sendungen mit, wobei sie ein weit gespanntes Opern- wie Konzertrepertoire zum Vortrag brachte. Dort hatte sie bereits ganz am Anfang ihrer Karriere am 4. Handtke in Dresden ausgebildet. Sie fanden zwischen dem 1. Seite 2: Staatsminister Dr. Es folgt ein Bildteil mit Personen aus der Administration der Oper. Als erstes: Das Residenztheater. Als zweites wird das Prinzregenten-Theater vorgestellt. Es gibt viele Fotos, auf denen Clemens Krauss blasiert ins Bild schaut und sehr snobistisch wirkt - so auch hier Clemens Krauss, damals noch Intendant in Frankfurt am Main.
Sie erschienen , als Kipnis noch lebte. Der Artikel von Alfred Frankenstein gibt noch viele eigene Erinnerungen des Autors an Opernabende im Berlin der 30er-Jahre wieder und stellt somit ein wertvolles Dokument eines Zeitzeugen dar. Der Artikel von Eduardo Arnosi stellt Daten zu Auftritten zusammen, die heutzutage kaum noch zu finden sind. Alfred Frankenstein lebte als Musikritiker bis in Berlin. So ganz scheint es technisch nicht funktioniert zu haben, aber die Text sind wenigstens les- und kopierbar. The town of more than , population had then a large Jewish community.
The religious centre of this ghetto-like town was a big "Schulhof" with many small and medium sized synagogues. Most of them had only an old-style chasan cantor for the religious Services, but the large synagogue, "die grosse Schul" had a male choir and a very good cantor. Most of the Jewish people lived in poverty and this applied also to the family of Kipnis.
His father died when the boy was twelve, and the molher was left with five children to be supported. When it was discovered that the boy possessed an exceptional soprano voice, the mother let herself be persuaded by a cantor from Bessarabia to let him take the child to his community to participate in the choir. As compensation the cantor took it upon himself to provide the boy with food and shelter and to give the mother a little pocket money. This was the place where the boy Sascha learned to read music. When his voice broke at the age of fifteen, he returned home.
Some time later he was asked to join a small theatrical group, with singing and doing odd Jobs, including helping in putting up the stage and also distributing posters and handbills, as well as collecting the tickets before the start of the performance—and finally—singing and acting. This nomadic life did not last long, as the local Governor of the province ordered the stop of the theatre performances.
During that time of compulsory vacation the young singer learnt his first song, it was "Der Leiermann" The organ grinder by Schubert. It happened that the mood and the fate of the song's hero was in tune with young Kipnis' own life and feelings. His next stop was a town called Rovno in the same province of Volynia. With his one and only song "Der Leiermann" he auditioned and was accepted as soloist and member of the choir of the local synagogue.
There he stayed for two years and these were years pleasant enough, with sufficient food as a very important point. But then the cantor, his boss, decided to move to the Polish town of Siedlce and Kipnis went with him.
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Some time later however he left for Warsaw in order to start his serious studies in music and singing. To maintain himself and to pay for the lessons, he sang in a synagogue as well as in a Jewish theatre. The time approach-ed now for military service in the Russian army. The young Jewish boy did not feel any attachment to a state that gave him so little, so he took the first opportunity to leave for Berlin. Here again the same pattern of life ensued: singing in the large synagogue in the Fasanen-strasse West Berlin, Charlottenburg and besides in German operetta theatres, just in order to maintain himself and to pay for his lessons.
When it became necessary to buy a new suit to replace the old worn-out one, he even sang at funerals. In the beginning of his Berlin stay Kipnis studied with an Italian voice teacher, later with a German one. The voice began to develop in power and brilliance and he saw his path cut out in opera and concert.
Verdi, Wagner, Mozart, Richard Strauss, Weber, Beethoven with their operatic works as well as Schubert, Schumann, Brahms and Wolf with their Lieder were the young singer's constant inspiration, he lived and dreamed music. All this was suddenly broken up by the start of the first world war in Kipnis was then just twenty-three years of age.
He was forbidden to sing either in the theatre or in the synagogue and classified a s an enemy alien since he had still his Russian passport. But with good luck he was recommended by a theatrical agent to the director of the Hamburg opera house where he stayed for two fruitful years building up his repertory and learning also to act. From Hamburg his way led to the then Hofoper of Wiesbaden, where he remained for three years, appearing in many parts and also building up his repertory of Lieder. In Kipnis joined the Deutsche Opernhaus in Berlin-Charlottenburg and stayed there for eleven years, until Oehman, Wilhelm Rode.
Among his new parts was the small one of the doctor in Pfitzner's seldom played opera "Der arme Heinrich" which Walter, as friend of Pfitzner tried to transplant to Berlin with a great cast consisting of Lotte Schoene, Wildbrunn, Rode, Oestvig. While the public did not take kindly to "L'amore dei tre re" by Monternezzi the old king of Kipnis became one of his finest parts with Riavez, Julien, Fischer. Though the opera, conducted by G. Oehman as Carlos in his prime, and in the duet between King and Grand Inquisitor we heard Kipnis and Ludwig Hofmann in this scene full of dramatic impact.
I shall never forget the great aria of the sad old king "Ella giammai m'amo" as sung by Kipnis, he was then only thirty seven years of age, but he played and acted by singing the tragedy of the betrayed old man as none has equalled him since. I attended as many performances of this opera as possible, Berlin Opera fans rushed to hear again and again Kipnis, Onegin and Oehman, the three pillars of this "Don Carlos".
It was a night to remember. Thanks to the co-ordination of the three Berlin opera houses under Heinz Tietjen Bruno Walter had by then left Berlin Kipnis could now be heard also in the Staatsoper. So he appeared in the "Schauspielhaus" —not in the Staatsoper, considered too large for this Mozart opera—as Figaro in a new performance conducted also by Furtwangler who had regained his old love for opera. This happened also in June , the same week as the "Tristan" mentioned above. The new season found Kipnis firmly established at the Staatsoper Unter den Linden, but he continued to sing also in Charlottenburg.
Schorr, W. This was Mozart singing at the finest, and old Berlin opera lovers remember gratefully those performances. From onwards the appearances of Kipnis in Berlin became rarer owing to his commitments in America. Maybe I should mention one fact: Kipnis as I remember him was one of those rare singers from whom you get always a first class performance, his singing and acting always justified his high reputation, you felt yourself secure when listening to his voice.
Despite the hardness of his youth of which I have told in the beginning, he was fortunate in being given excellent health, a gift so urgently required by singers who are moving between the capitals of the world. When the Nazi party conquered the German republic and Jewish artists were evicted from their employments, the two Jewish bass singers of front rank in the Berlin Staatsoper were asked to stay —not out of human kindness but simply owing to the fact that the Nazis had nobody to take the place of Kipnis and Emanuel List.
They continued to sing until , while Friedrich Schorr with his feeling for the coming political events had left Berlin before the ascent of Hitler. This was one of the last sunset premieres of grandeur prior to In the Staatsoper work continued a s if nothing had happened. Leo Blech continued to conduct, with more than usual applause of the listeners who thought they could thus express their anti-Nazi feelings.
Blech conducted also his famous "Aida" with Giannini, M. Klose and Kipnis as Hunding November, Bockelmann as Teil, Roswaenge and Heidersbach excelled in the main parts. The next year March. Kipnis was in wonderful voice. This was one of the finest parts in the repertory of Kipnis, here he could display the rare art of singing legato, and the scene with Leonora di Vargas remains one of the high points in operatic singing.
I admit I have given in this short biography of Kipnis prominent place to his Berlin activities, not only because I a s a listener can tell the story from my own experience, but also because the singer himself considered Berlin his residence and base for twenty years and more. After the first performance of "Meistersinger" in New York Manhattan Opera which was attended by Mary Garden and Sam Insull, he was at once engaged for the Chicago Civic Opera where he appeared for nine seasons singing the larger part of his repertory in German, Italian, French and English.
Beecham , "Tristan und Isolde" Cond. Previously there had been in his Gurnemanz in "Parsifal" conducted by veteran Muck alternating with Ivar Andresen and in he repeated the role. After cessation of his artistic activities in Germany Kipnis became a member of the Vienna Opera for the next three years, i. Hans Oppenheim conducted the first performances, Fritz Busch the remainder.
En route some members stopped off at Antwerp for a Mozart Festival there and appeared in single performances of these operas, where they were joined by Kipnis, not then a member of the troupe, as Figaro and the unlikely part of Don Giovanni. The tenor engaged was Luigi Fort and the performances were conducted by Eugen Szenkar. Guest appearances at the Scala of Milan, the Grand Opera of Paris —debut 20 May, as King Marke, the same season sang Mephistopheles and Hunding, Gurnemanz in and Pogner in —concert tours to Australia and New Zealand preceded his engagement at the Metropolitan Opera in New York until the year , when he decided to cease his operatic career and to devote his time to teaching and concertising.
So far we have spoken only of the operatic artist. Now I should like to say a few words about Alexander Kipnis the Lieder singer. In Berlin Kipnis appeared regularly once in every year in recital. His accompanists were eilher Arpad Sandor or Dr. Ernst Wolff. The recitals always took place in the Beethoven-Saal, at the same house of the Philharmonie. He used to open his Programme with some arias by Handel Berenice, Ariodante or Haydn Teilung der Welt , but devoted the main part of the programme to the Lied by Schubert, Wolf, Schumann "Mondnacht" sung in his beautiful legato was always one of the peaks and after the interval he was in the habit of continuing with Russian Folk Songs which invariably aroused the enthusiasm of the audience, sometimes also some art songs by Gretchaninoff, a great fayourite of his, while the culmination of the recital were the great arias from "Boris Godunov" —while in Berlin he never sang the role in the theatre, still being too young or feeling himself too young, while in U.
Kipnis knew how to conquer the public as well as the critics and yet he always remained nobility and dignity itself on the concert platform. The critics of the Berlin press admired him and looking through the old cuttings I have preservcd in my collection I find the expression of the highest appreciation. This pianissimo, this languishing mezzavoce, then again the ferocious accents of dramatic eruption, who is able to equal him nowadays? There are some songs, like "Moonlight" or "Secret" Strauss where the highest grade of singing is achieved H.
Often Kipnis was invited by the most famous conductors to appear a s soloist in the great choral works requiring soloists. With the ascension to power by the Nazi party and the ejection of Jewish musicians from the opera stages and concert halls of the Reich, the Jewish community in Berlin and in some other big cities of Germany succeeded in developing their own artistic cultural life — theatre and music—within the framework of the "Kulturbund deutscher Juden".
Kipnis was still a member of the Staatsoper Berlin but he at once accepted the invitation to appear in a recital before an audience composed exclusively of his fellow-Jews. The large hall of the "Berliner Theater" this had been leased to the Kulturbund for their artistic manifestations was overflowing, the success of the concert was without precedent, Kipnis gave his fellow sufferers by his singing beauty and confidence. He appeared once again a s soloist in the title part of the Mendelssohn oratorio "Elijah" as given in the same year, , by the Jewish Kulturbund in the large synagogue in the Oranienburgcr Strasse.
Looking back it seems to me that this oratorio at that very moment in the suppression and humiliation of the Jewish people had its special significance. Alexander Kipnis' understood the command of the hour and identified himself with his people when he sang the great arias of Elijah "Lord God of Abraham" and "It is enough", his voice and his nobility of singing gave us the consolation we were so much in need of. It was more than an artistic feature, it was a human confession that remains unforgotten.
The following winter Kipnis was heard in a concert tour in Britain. Of the Wigmore Hall recital on Nov. But singing in a concert hall is a very different matter. Kipnis was, however, equally successful. Above all, his variety was astonishing. Ernest Newman in the "Sunday Times": "One of the most significant features of Kipnis's recital on Tuesday was the number of musicians in the audience. For a bass of his depth and general power Kipnis has an astonishing range of tone and variety of colour; and the concert room is an even better testimony to these than the opera house".
Neville Cardus in the "Manchester Guardian": "Kipnis's voice, which mixes the rich sonorities of the pure bass with the more flexible colour of the baritone. His soft singing is lovely for its own sake.
He is at his best in Hugo Wolf—and to say that much is to make a rare compliment to him On Nov. Kipnis was right in his interpretation, psychologically and vocally. His singing of Lieder is the complete musical joy that only Lieder can give, when sung by a great artist". And with the same orchestra in Edinburgh on Dec. The first excerpt sung in his native tongue revealed Kipnis as an extra-ordinary operatic artist.
Nothing more noble could be imagined than the beautiful sonority and great power with which Kipnis delivered the grand operatic rhetoric of Wagner's closing scene from "Valkyrie".
He remained a member of the Metropolitan Opera until and then began his teaching career. I am indebted to Mr. Alexander Kipnis and Mrs.