No abstract
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. PM All use subject to JSTOR Terms and Conditions refuge, Venice an Asyl for the composi-a battleground for stage productions. tion ?f the second act of Tristan, and the There are 88 pictures and manuscripts "southland" an agreeeable visiting place reproduced from the Wagner archives in his old age. For him it never became at Bayreuth. JOHN N. BURK 150 Jahre Theater an der Wien. Von Anton Bauer. Leipzig, Vienna: Amalthea Verlag, [1952]. [515, (3) p., illus., ports., 8vo; $11.00]The history of the Theater an der Wien ranged for Beethoven, Berlioz, and mirrors the life of Viennese society; it Wagner, who conducted their own works. mirrors, indeed, the rise and fall of the Offenbach came with La belle Hdelne Austrian Monarchy, and the fateful years and other of his operettas. In 1905 Max for Austria before and after the second Reinhardt produced Sophocles's Electra world war. The Theater was built by and Shakespeare's Midsummer Night's Emanuel Schikaneder, who spent more Dream with Mendelssohn's music. Shortly than ten years securing permission for after the German occupation in 1938 the his plan, and was opened in June 1801 theater was closed and remained closed for the production of opera and drama for five years. After the war Vienna in German. The repertory of the first needed a new opera house, because the years shows performances of operas by State Opera had been destroyed. The Mozart, Cherubini, Martin y Soler, Le Theater an der Wien was the only Sueur, Mehul, Kreutzer, Dittersdorf, theater in Vienna big enough for this Weigl, Siissmayer, and, on November 20, purpose, and so it returned to the role 1805, the first performance of Beethoven's it had played in the great days of old. Fidelio. But it soon became evident that When I revisited it in 1949 The Magic it was impossible to run a private theater Flute was being performed, and I felt on such a high artistic level without how much more suitable was this small incurring a disastrous deficit. Duringtheater with its splendid acoustics for 1825-45 popular plays and comedies pre-the performance of this work than the vailed. From 1845 onwards Supp6 was grand opera houses in which it is usually the dominant composer, the first in the heard. line of the operetta composers who in-Anton Bauer gives a clear and readable eluded Millocker, Johann Strauss, Zeller, account of the dramatic changes in the Heuberger, and Lehar, all of whom had history of the Theater. The most valutheir first nights at the Theater an der able part of the book, and indispensable Wien. Here Artur Bodansky began his for the student of theatrical history, is car...
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