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Zwischen Wagnerismus und Verismo: Irr- und Auswege des deutschen Opernlibrettos um 1900
Ist Teil von
Archiv für Musikwissenschaft, 2012, Vol.69 (2), p.142-153
Ort / Verlag
Stuttgart: Franz Steiner Verlag
Erscheinungsjahr
2012
Link zum Volltext
Quelle
Alma/SFX Local Collection
Beschreibungen/Notizen
The essay examines German opera's precarious development, with special emphasis on the libretti, in the aftermath of Wagner's legacy, between ca. 1900 and 1920. The success of the fairy-tale opera as invisioned by Humperdinck and Siegfried Wagner was, with the exception of Hänsel und Gretel, short-lived—a condition that distracts from the fact that the artistically far more interesting Königskinder by Humperdinck, alongside Hans Pfitzner's Der arme Heinrich, were the most impressive examples of relevant and autonomous German opera in the wake of Wagner. Thoroughly independent of Wagner's orbit were the temporarily successful comic operas of German-Italian composer Ermanno Wolf-Ferrari, which were based on commedia-dell-arte plays by Carlo Goldoni, while German experiments in Italian verismo were ultimately not viable (notable exceptions are Wolf-Ferrari's I Gioelli della madonna and Max von Schilling's Mona Lisa). In spite of its impressive score, the enormously gifted Austrian composer Franz Schmidt's second and last opera (Fredegundis) met with failure, thanks to its tedious libretto. The Gordian knot of this unfruitful situation was finally severed with Franz Schreker's Der ferne Klang and Die Gezeichneten, both based on his own libretti.