Medea (Reimann): Difference between revisions
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== History == |
== History == |
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[[Aribert Reimann]] had already written seven literary operas, including ''[[Melusine (Reimann)|Melusine]]'', ''[[Lear (opera)|Lear]]'' and ''[[Troades (opera)|Troades]]'', when he received a commission from the [[Vienna State Opera]] to write an opera for the conclusion of the era of [[Ioan Holender]] as General Director of the opera house. He chose the play ''Medea'' by [[Franz Grillparzer]] as a basis for the work, the last part of Grillparzer's trilogy ''{{ill|Das goldene Vließ|de|Das goldene Vlies|lt=Das goldene Vließ}}'' (''The [[Golden Fleece]]'') which is focused on Greek mythology, especially [[Medea]].<ref name="Büning" /><ref name="Clements" /> When Richard Strauss had combined Greek mythology with new expressive music in ''[[Elektra (opera)|Elektra]]'' around 100 years earlier, he had used a libretto by the contemporary [[Hugo von Hofmannsthal|Hofmannsthal]].<ref name="Whittall |
[[Aribert Reimann]] had already written seven literary operas, including ''[[Melusine (Reimann)|Melusine]]'', ''[[Lear (opera)|Lear]]'' and ''[[Troades (opera)|Troades]]'', when he received a commission from the [[Vienna State Opera]] to write an opera for the conclusion of the era of [[Ioan Holender]] as General Director of the opera house. He chose the play ''Medea'' by [[Franz Grillparzer]] as a basis for the work, the last part of Grillparzer's trilogy ''{{ill|Das goldene Vließ|de|Das goldene Vlies|lt=Das goldene Vließ}}'' (''The [[Golden Fleece]]'') which is focused on Greek mythology, especially [[Medea]].<ref name="Büning" /><ref name="Clements" /> When Richard Strauss had combined Greek mythology with new expressive music in ''[[Elektra (opera)|Elektra]]'' around 100 years earlier, he had used a libretto by the contemporary [[Hugo von Hofmannsthal|Hofmannsthal]].<ref name="Whittall" /> |
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The opera was premiered at the [[Vienna State Opera]] in February 2010, staged by {{ill|Marco Arturo Marelli|de}}, conducted by [[Michael Boder]], with [[Marlis Petersen]] in the title role. The German premiere was at the [[Frankfurt Opera]] in August 2010.<ref name="Carlà" /> |
The opera was premiered at the [[Vienna State Opera]] in February 2010, staged by {{ill|Marco Arturo Marelli|de}}, conducted by [[Michael Boder]], with [[Marlis Petersen]] in the title role. The German premiere was at the [[Frankfurt Opera]] in August 2010.<ref name="Carlà" /> |
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== Music == |
== Music == |
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Grillparzer showed Medea as a foreigner without protection who is the victim of powerful men, a view appealing to Reimann.<ref name="KOB" /> In a performance at the [[Komische Oper Berlin]], staged by [[Benedict Andrews]] with [[Nicole Chevalier]] in the title role, Medea is shown as a [[barbarian]] woman, a stranger to the society and therefore expelled.<ref name="KOB" /> |
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A reviewer of the premiere notes that the vocal lines are highly ornamented, full of [[melisma]], and with sharply jagged contours ("wild gezackt, scharf geschnitten"), demanding virtuosity from the singers. The [[Metre (music)|metre]] changes without rest, also in the orchestra. The strings are divided multiple times, while the winds often have solo function. The vocal style was described as highly artificial ("hochartifiziell").<ref name="Büning" /> |
A reviewer of the premiere notes that the vocal lines are highly ornamented, full of [[melisma]], and with sharply jagged contours ("wild gezackt, scharf geschnitten"), demanding virtuosity from the singers. The [[Metre (music)|metre]] changes without rest, also in the orchestra. The strings are divided multiple times, while the winds often have solo function. The vocal style was described as highly artificial ("hochartifiziell").<ref name="Büning" /> |
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| accessdate = 22 July 2017 |
| accessdate = 22 July 2017 |
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<ref name="Ossowski">{{cite news |
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| last = Ossowski |
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| first = Maria |
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| title = "Medea" an der Komischen Oper - "Erarmt bin ich an Macht" |
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| newspaper = rbb |
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| date = 22 May 2011 |
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| accessdate = 24 July 2017 |
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}}</ref> |
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* [] rbb-online.de 22 May 2017 |
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<ref name="Whittall">{{cite journal |
<ref name="Whittall">{{cite journal |
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== External links == |
== External links == |
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* [https://bachtrack.com/review-reimann-medea-boder-marelli-wiener-staatsoper-april-2017 The wrath of a woman scorned: Reimann’s murderous Medea at the Wiener Staatsoper] bachtrack.com 2017 |
* [https://bachtrack.com/review-reimann-medea-boder-marelli-wiener-staatsoper-april-2017 The wrath of a woman scorned: Reimann’s murderous Medea at the Wiener Staatsoper] bachtrack.com 2017 |
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| ⚫ | |||
* Maria Ossowski: [https://www.br-klassik.de/aktuell/news-kritik/kritik-aribert-reimann-medea-komische-oper-berlin-100.html Aribert Reimanns "Medea" in Berlin / Emotionsbündel mit Furor] [[Bayerischer Rundfunk|BR]] 22 May 2017 |
* Maria Ossowski: [https://www.br-klassik.de/aktuell/news-kritik/kritik-aribert-reimann-medea-komische-oper-berlin-100.html Aribert Reimanns "Medea" in Berlin / Emotionsbündel mit Furor] [[Bayerischer Rundfunk|BR]] 22 May 2017 |
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Revision as of 16:02, 24 July 2017
| Medea | |
|---|---|
| Opera by Aribert Reimann | |
 The composer in 2011 | |
| Language | German |
| Based on | Medea by Franz Grillparzer |
| Premiere | |
Medea is a German-language opera by Aribert Reimann after the play by Franz Grillparzer. It was premiered at the Vienna State Opera in February 2010. The German premiere was at the Frankfurt Opera in August 2010.
History
Aribert Reimann had already written seven literary operas, including Melusine, Lear and Troades, when he received a commission from the Vienna State Opera to write an opera for the conclusion of the era of Ioan Holender as General Director of the opera house. He chose the play Medea by Franz Grillparzer as a basis for the work, the last part of Grillparzer's trilogy Das goldene Vließ (The Golden Fleece) which is focused on Greek mythology, especially Medea.[1][2] When Richard Strauss had combined Greek mythology with new expressive music in Elektra around 100 years earlier, he had used a libretto by the contemporary Hofmannsthal.[3]
The opera was premiered at the Vienna State Opera in February 2010, staged by Marco Arturo Marelli, conducted by Michael Boder, with Marlis Petersen in the title role. The German premiere was at the Frankfurt Opera in August 2010.[4]
Music
Grillparzer showed Medea as a foreigner without protection who is the victim of powerful men, a view appealing to Reimann.[5] In a performance at the Komische Oper Berlin, staged by Benedict Andrews with Nicole Chevalier in the title role, Medea is shown as a barbarian woman, a stranger to the society and therefore expelled.[5]
A reviewer of the premiere notes that the vocal lines are highly ornamented, full of melisma, and with sharply jagged contours ("wild gezackt, scharf geschnitten"), demanding virtuosity from the singers. The metre changes without rest, also in the orchestra. The strings are divided multiple times, while the winds often have solo function. The vocal style was described as highly artificial ("hochartifiziell").[1]
Recordings
- DVD (cast of the premiere): Marlis Petersen, Michaela Selinger, Elisabeth Kulman, Michael Roider, Orchestra of the Vienna State Opera, Michael Boder, 2010[3]
- CD (cast of the German premiere): Claudia Barainsky, Tanja Ariane Baumgartner, Michael Nagy, Michael Baba, Paula Murrihy, Tim Severloh, Frankfurter Opern- und Museumsorchester, Erik Nielsen. Oehms, 2CDs 2010[2]
References
- ^ a b Büning, Eleonore (1 March 2010). "Oper: "Medea" in Wien Eine antike Brünnhilde". FAZ (in German). Retrieved 22 July 2017.
- ^ a b Clements, Andrew (26 May 2011). "Medea – review Barainsky/Baumgartner/Nagy/Baba/Frankfurt Opera/Nielsen (Oehms, two CDs)". The Guardian. Retrieved 22 July 2017.
- ^ a b Whittall, Arnold (2010). "Reimann Medea / Reimann's take on a bloodthirsty tale, filmed during its Vienna premiere run". Gramophone. Retrieved 22 July 2017.
- ^ Carlà, Filippo; Berti, Irene (2016). Ancient Magic and the Supernatural in the Modern Visual and Performing Arts. ISBN 1350007943.
..., Reimann's work, following Franz Grillparzer's Medea (1820), the primary source for the libretto, can safely be ascribed to the second type. Reimann's social and political interpretation of Medea's magical abilities allows him to reflect on the violence of the power that fears and distrusts – but at the same time needs – the unknown, the foreigner."
- ^ a b "Aribert Reimann / Medea". Komische Oper Berlin. 2017. Retrieved 22 July 2017.
External links
- The wrath of a woman scorned: Reimann’s murderous Medea at the Wiener Staatsoper bachtrack.com 2017
- Maria Ossowski: Aribert Reimanns "Medea" in Berlin / Emotionsbündel mit Furor BR 22 May 2017
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