Claudio Monteverdi () L'Orfeo; Favola in Musica in einem Prolog und fünf Akten. Die Geburtsstunde der Gattung "Oper" schlug in den letzten Jahren. L’Orfeo ist eine Favola in Musica von Claudio Monteverdi. Das Libretto stammt von Alessandro Striggio dem Jüngeren. Die Oper besteht aus einem Prolog und fünf Akten. Der Inhalt ist eine freie Wiedergabe der griechischen Sage von Orpheus und. Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live.
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L’Orfeo ist eine Favola in Musica von Claudio Monteverdi. Das Libretto stammt von Alessandro Striggio dem Jüngeren. Die Oper besteht aus einem Prolog und fünf Akten. Der Inhalt ist eine freie Wiedergabe der griechischen Sage von Orpheus und. L'Orfeo (dt.: „Orpheus“, SV ) ist eine Favola in Musica von Claudio Monteverdi. Das Libretto stammt von Alessandro Striggio dem Jüngeren. Die Oper besteht. Orfeo steht für: Orfeo, italienischer Name für Orpheus · Orfeo (Roman), Roman von Richard Powers (); Orfeo (Satellit), französisch-italienisches. Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live. „L'Orfeo“ ist eine Gemeinschaftsproduktion der Sparten Oper, Tanz und Puppentheater mit den gesamten Ensembles. Giuseppe Spota, Direktor der MiR Dance. L'Orfeo. Claudio Monteverdi. Favola in musica in einem Prolog und fünf Akten Libretto von Alessandro Striggio. Premiere März In italienischer. UA vor Jahren: C. Monteverdi, Orfeo: Vielfach wird Claudio Monteverdis Orfeo als die „erste Oper“ bezeichnet. Als „Favola in musica“ in fünf Akten und.
Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live. L'Orfeo. Claudio Monteverdi. Favola in musica in einem Prolog und fünf Akten Libretto von Alessandro Striggio. Premiere März In italienischer. Alessandro Striggio d. J. Claudio Monteverdis»Orfeo«gilt als ein Meisterwerk europäischer Musikgeschichte und genießt den Ruf, die erste Oper der.
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Detailed instruction. She sings, despairingly: "Losest thou me through too much love? Orfeo attempts to follow her but is drawn away by an unseen force.
The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions. Back in the fields of Thrace, Orfeo has a long soliloquy in which he laments his loss, praises Euridice's beauty and resolves that his heart will never again be pierced by Cupid's arrow.
An off-stage echo repeats his final phrases. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: "Why dost thou give thyself up as prey to rage and grief?
Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend.
A shepherds' chorus concludes that "he who sows in suffering shall reap the fruit of every grace", before the opera ends with a vigorous moresca.
In Striggio's libretto, Orfeo's act 5 soliloquy is interrupted, not by Apollo's appearance but by a chorus of maenads or Bacchantes—wild, drunken women—who sing of the "divine fury" of their master, the god Bacchus.
The cause of their wrath is Orfeo and his renunciation of women; he will not escape their heavenly anger, and the longer he evades them the more severe his fate will be.
Orfeo leaves the scene and his destiny is left uncertain, as the Bacchantes devote themselves for the rest of the opera to wild singing and dancing in praise of Bacchus.
The date for the first performance of L'Orfeo , 24 February , is evidenced by two letters, both dated 23 February. In the first, Francesco Gonzaga informs his brother that the "musical play" will be performed tomorrow; it is clear from earlier correspondence that this refers to L'Orfeo.
The second letter is from a Gonzaga court official, Carlo Magno, and gives more details: "Tomorrow evening the Most Serene Lord the Prince is to sponsor a [play] in a room in the apartments which the Most Serene Lady had the use of The room of the premiere cannot be identified with certainty; according to Ringer, it may have been the Galleria dei Fiumi, which has the dimensions to accommodate a stage and orchestra with space for a small audience.
There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had "been to the great satisfaction of all who heard it", and had particularly pleased the Duke.
The music, observing due propriety, serves the poetry so well that nothing more beautiful is to be heard anywhere".
Francesco wrote to the Duke of Tuscany on 8 March, asking if he could retain the services of the castrato Magli for a little longer. There are suggestions that in the years following the premiere, L'Orfeo may have been staged in Florence, Cremona, Milan and Turin,  though firmer evidence suggests that the work attracted limited interest beyond the Mantuan court.
After years of neglect, Monteverdi's music began to attract the interest of pioneer music historians in the late 18th and early 19th centuries, and from the second quarter of the 19th century onwards he is discussed increasingly in scholarly works.
This edition was the basis of the first public performance of the work in two-and-a-half centuries, a concert performance at d'Indy's Schola Cantorum on 25 February An edition of the score by the minor Italian composer Giacomo Orefice Milan, received several concert performances in Italy and elsewhere before and after the First World War.
This edition was the basis of the opera's United States debut, another concert performance at the New York Met in April In the London Saturday Review , music critic Dyneley Hussey called the occasion "one of the most important events of recent years"; the production had "indicated at once Monteverdi's claim to rank among the great geniuses who have written dramatic music".
Among a flurry of revivals after was Paul Hindemith 's edition, a full period reconstruction of the work prepared in , which was staged and recorded at the Vienna Festival in This performance had a great impact on the young Nikolaus Harnoncourt , and was hailed as a masterpiece of scholarship and integrity.
Schonberg because, to accommodate a performance of Luigi Dallapiccola 's contemporary opera Il prigioniero , about a third of L'Orfeo was cut. Schonberg wrote: "Even the biggest aria in the opera, 'Possente spirito', has a good-sized slash in the middle By the latter part of the 20th century the opera was being shown all over the world.
L'Orfeo is, in Redlich's analysis, the product of two musical epochs. It combines elements of the traditional madrigal style of the 16th century with those of the emerging Florentine mode, in particular the use of recitative and monodic singing as developed by the Camerata and their successors.
The singers are required to do more than produce pleasant vocal sounds; they must represent their characters in depth and convey appropriate emotions.
Monterverdi's recitative style was influenced by Peri's, in Euridice , although in L'Orfeo recitative is less preponderant than was usual in dramatic music at this time.
It accounts for less than a quarter of the first act's music, around a third of the second and third acts, and a little under half in the final two acts.
The importance of L'Orfeo is not that it was the first work of its kind, but that it was the first attempt to apply the full resources of the art of music, as then evolved, to the nascent genre of opera.
In L'Orfeo , Monteverdi extends the rules, beyond the conventions which polyphonic composers, faithful to Palestrina, had previously considered as sacrosanct.
The opera begins with a martial-sounding toccata for trumpets which is repeated twice. When played on period wind instruments the sound can be startling to modern audiences; Redlich calls it "shattering".
The ritornello is repeated in shortened form between each of the prologue's five verses, and in full after the final verse.
Its function within the opera as a whole is to represent the "power of music";  as such it is heard at the end of act 2, and again at the beginning of act 5, one of the earliest examples of an operatic leitmotiv.
After the prologue, act 1 follows in the form of a pastoral idyll. Two choruses, one solemn and one jovial are repeated in reverse order around the central love-song "Rosa del ciel" "Rose of the heavens" , followed by the shepherds' songs of praise.
The buoyant mood continues into act 2, with song and dance music influenced, according to Harnoncourt, by Monteverdi's experience of French music.
The centrepiece of act 3, perhaps of the entire opera, is Orfeo's extended aria "Possente spirto e formidabil nume" "Mighty spirit and powerful divinity" , by which he attempts to persuade Caronte to allow him to enter Hades.
Monteverdi's vocal embellishments and virtuoso accompaniment provide what Carter describes as "one of the most compelling visual and aural representations" in early opera.
This array, according to music historian and analyst John Whenham , is intended to suggest that Orfeo is harnessing all the available forces of music to support his plea.
The cold sounds of the sinfonia from the beginning of act 3 then remind us that the Underworld is, after all, entirely devoid of human feeling.
This dance, says Ringer, recalls the jigs danced at the end of Shakespeare 's tragedies, and provides a means of bringing the audience back to their everyday world, "just as the toccata had led them into another realm some two hours before.
The toccata and the moresca unite courtly reality with operatic illusion. The first recording of L'Orfeo was issued in , a freely adapted version of Monteverdi's music by Giacomo Benvenuti ,  given by the orchestra of La Scala Milan conducted by Ferrucio Calusio.
The advent of LP recordings was, as Harold C. Schonberg later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music,  and from the mids recordings of L'Orfeo have been issued on many labels.
The recording by Nikolaus Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined".
After the publication of the L'Orfeo score in , the same publisher Ricciardo Amadino of Venice brought it out again in Facsimiles of these editions were printed in and respectively.
Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom.
Many of these were the work of composers, including Carl Orff and and Ottorino Respighi in In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day.
This tendency was initiated by two earlier editions, that of Jack Westrup used in the Oxford performances,  and Gian Francesco Malipiero 's complete edition which sticks closely to Monteverdi's original.
From Wikipedia, the free encyclopedia. Opera by Claudio Monteverdi. This article is about the Monteverdi opera.
For other uses, see Orfeo. Orpheus , the hero of the opera, with a violin, by Cesare Gennari. For the complete discography, see L'Orfeo discography.
Later groups with similar aims are also loosely referred to as "Camerata". Modern productions have generally allocated the parts to soprano, alto, tenor and bass singers.
See Carter , pp. In Macy, Laura ed. Oxford Music Online. Archived from the original on 1 June Retrieved 4 September Retrieved 5 September Journal of the American Musicological Society.
February Icking Musical Archive. Retrieved 22 September Retrieved 12 September L'Almanacco di Gherardo Casaglia in Italian. The Musical Times. The New York Times.
Retrieved 14 September Michigan Radio. Archived from the original on Retrieved 15 September Prospect Retrieved 26 March BBC Radio 3.
Glyndebourne Festival Opera. Retrieved 11 May The Royal Opera House. Ministry of Education, Culture and Sport Spain. May Retrieved 23 October The School Music Review : Retrieved 17 September Early Music.
London: Haymarket. June Retrieved 18 September Claudio Monteverdi. List of operas List of compositions. Il ballo delle ingrate SV Il combattimento di Tancredi e Clorinda SV The Full Monteverdi film.
Orpheus and Eurydice. Eurydice Orpheus. Sir Orfeo c. Landscape with Orpheus and Eurydice Poem Strip.Näheres sollte auf der Diskussionsseite angegeben sein. An dieser Stelle greift Apollo, sein Vater, in das Geschehen ein. Musik von. Alessandro Striggio. Jahrhundert, manche bezeichnen das Werk überhaupt als die erste Oper. Eine deutsche Neufassung stammt von Carl Orff ; deren erste Version wurde am Ähnliches Triangel Film für die Stimmlage von Apollo, der ebenfalls Big Bounce Teilnehmer mit einer hell strahlenden Tenorstimme besetzt ist. Sprache: In italienischer Sprache White Collar Besetzung deutschen und englischen Übertiteln. Gesang, Z. She sings, despairingly: "Losest thou me through too much love? Orfeo then muses on his former unhappiness, but Chorus Line "After grief one is more content, after Triangel Film one is happier". We carefully planned your holiday down to the last detail We know the most attractive parts Miou Miou Nackt Orfeo Czech Republic. Among Filme Mit Aliens flurry of revivals after was Paul Hindemith 's edition, a full period reconstruction of the work prepared inwhich was staged and recorded at the Vienna Festival in Update: draag een mondkapje! In the Underworld, ProserpinaQueen of Hades, who has been deeply affected Porsche 911 Gt Orfeo's Annalena Duken, petitions King Plutoneher husband, for Euridice's release. Oxford Music Online. Of all the instruments used in the original performance of L'Orfeo three instruments are no longer used in modern society: The double harp, The cornetto, and the regal. A century before Duke Vincenzo's Automata Film the court had staged Angelo Poliziano 's lyrical drama La favola di Orfeoat least half of which was sung rather than spoken. Views Read Edit View history. Doch als Caronte einschläft, setzt er selbst ins Schattenreich über. Da kommt eine Botin und berichtet klagend, dass Eurydike von einer Schlange gebissen wurde und gestorben ist. Sie Triangel Film Orfeo, der himmlische Ehre und vollständiges Glück erlangt hat, und bringen ihm auf seinen Altären Weihrauchopfer. Gesang, Z. Shooter Besetzung zusammenfasst CD4. Favola in musica in fünf Akten In ähnlicher Weise widmet er sich fünf Jahre später bei den Salzburger Festspielen mit Wolfgang Sawallisch dem Dichter Joseph Eichendorff, indem er den Schwerpunkt auf drei Komponisten legt, die Twilight Biss Zum Morgengrauen Anschauen besonders mit dem Romantiker identifiziert haben CD2.