Salzburg Festival: history and repertoire, 1935–37
This is a list of the operas performed by Salzburg Festival during the first years of the festival after its foundation (1922 and 1925–1934). This period was initiated with Richard Strauss as conductor, with the Vienna Philharmonic and with the best Mozarts singers from all over the world. This period defined the high standard of the Salzburg Festival and led to the engagement of Arturo Toscanini, renowned conducter from Italy, who – together with Bruno Walter – defined the programme of the festival in following period (1935-1937).
Aim of the festival
editThe period 1935 to 1937 was extremely successful for the Salzburg Festival. The percentage of tickets sold rose from 53% in 1934 to 89% in 1937. Each year during this period of the Salzburg Festival, Arturo Toscanini presented one new production of an opera suitable to the Salzburg atmosphere. He insisted on major fundings and on the best available singers. In 1935 he presented Giuseppe Verdis last opera, Falstaff, performed for the first time at the Salzburg Festival. His choice of Wagners Meistersinger von Nürnberg in 1936 was seen as an act of opposition to the Bayreuth Festival, insisting that this opera belongs to the cultural heritage of the world and not to Nazi Germany. His last Salzburg premiere was dedicated to the genius loci, Wolfgang Amadeus Mozart, and his masterpiece Die Zauberflöte. Another political statement of Toscanini was that each year he conducted Beethoven's freedom opera Fidelio, a masterpiece against tyranny.[1]
Meanwhile, Bruno Walter, who was the only conductor fully accepted by Toscanini, concentrated himself on majors works of Mozart, presented a highly acclaimed production of Glucks Orfeo ed Euridice and expanded the Salzburg repertory by adding rarely performed operas like Wolfs Der Corregidor and Webers Euryanthe. He too insisted on conducting Wagner in Salzburg – Tristan und Isolde with a splendid cast led by Anny Konetzni and Josef Kalenberg.[2]
1922
edit1925
edit1937
editRepertory
editIn addition to the new productions the following works from the repertory were performed at the Salzburg Festival.
1935
edit- Così fan tutte, cond. Felix von Weingartner, August 5 and 19
- Don Giovanni, cond. Bruno Walter, August 1, 8, 15, 23 and 28
- Fidelio, cond. Arturo Toscanini, August 7, 14, 24 and 31
- Le nozze di Figaro, cond. Felix von Weingartner, August 13 and 30
- Der Rosenkavalier, cond. Josef Krips, July 30, August 9 und 27
- Tristan und Isolde, cond. Bruno Walter, July 27
1936
edit- Così fan tutte, cond. Felix von Weingartner, July 29 and August 25
- Don Giovanni, cond. Bruno Walter, July 28, August 4, 13 and 24
- Falstaff, cond. Arturo Toscanini, July 31, August 10, 20 and 26
- Fidelio, cond. Arturo Toscanini, July 25, August 5, 16 and 31
- Le nozze di Figaro, cond. Felix von Weingartner, July 27 and August 29
- Tristan und Isolde, cond. Bruno Walter, August 27
1937
edit- Don Giovanni, cond. Bruno Walter, August 2, 13 and 28
- Elektra, cond. Hans Knappertsbusch, August 8 and 22
- Falstaff, cond. Arturo Toscanini, July 26, August 9 and 23
- Fidelio, cond. Arturo Toscanini, August 24 and 26
- Die Meistersinger von Nürnberg, cond. Arturo Toscanini, August 5, 12 and 20
- Orfeo ed Euridice, cond. Bruno Walter, July 31 and August 14
- Der Rosenkavalier, cond. Hans Knappertsbusch, July 27, August 6 and 24
Sources
edit- Kaut, Josef (1982). Die Salzburger Festspiele 1920-1981, Mit einem Verzeichnis der aufgeführten Werke und der Künstler des Theaters und der Musik von Hans Jaklitsch. Salzburg: Residenz Verlag. ISBN 3-7017-0308-6.
References
edit- ^ Stephen Gallup: Die Geschichte der Salzburger Festspiele, Vienna: Orac 1989, ISBN 3-7015-0164-5, p. 124–154 (Chapter: Der glorreiche Toscanini).
- ^ Robert Kriechbaumer: Zwischen Österreich und Großdeutschland. Eine politische Geschichte der Salzburger Festspiele 1933–1944. Vienna: Böhlau 2013, ISBN 978-3-205-78941-3, Herein esp. p. 77–79, 125–136, 142–144, 257–262.
History and repertoire, 1935–37, Salzburg Festival
Category:Opera-related lists
Category:1922 music festivals
Category:1925 music festivals
Category:1926 music festivals
Recordings
editAudio CD
- Duets (Mendelssohn, Brahms, Schumann) with Ewa Podleś and Jerzy Marchwinski (piano)
- Stanisław Moniuszko: Religious Songs: Andrzej Hiolski, Jaroslaw Malanowicz, Joanna Kozłowska, Piotr Kusiewicz. CD, DDD, CD Accord, 26 June 2001
|2005
|Poznań Philharmonic
|Puccini:
•Si, mi chiamano Mimi – La bohème (Mimi)
•Donde lieta usci al tuo grida d’amore – La bohème (Mimi)
•Un bel di, vedremo – Madama Butterfly (Butterfly)
•Tu…Piccolo Oddio – Madama Butterfly (Butterfly)
•Signore ascolta – Turandot (Liu)
•Tu che di gel sei cinta – Turandot (Liu)
•Vissi d’arte – Tosca (Tosca)
•O moi babbino caro – Gianni Schicchi (Lauretta)
Verdi:
•Pace moi Dio – La forza del destino (Leonora)
•Era piu calmo?… Emilia, te ne prego… Piangea cantando… Ave Maria – Otello (Desdemona)
|Joanna Kozlowska
|CD Accord ACD 135-2
DVD
- TheOperaCritic.com singer's page
- Interview at MusicalCriticism.com
- Interview at Culture Kiosque
- Midgette, Anne (21 October 2008). "The Elemental Power of Ewa Podles". The Washington Post
Discography
edit| Rollen | Teatro Carlo Felice 30. Mai 1865 |
Teatro alla Scala 12. Februar 1871 |
Opera Southwest 12. Februar 2014 |
Bregenzer Festspiele 20. Juli 2016 | ||||
|---|---|---|---|---|---|---|---|---|
| Amleto (Hamlet) | Mario Tiberini | Mario Tiberini | Alex Richardson | Pavel Černoch | ||||
| Ofelia (Ophelia) | Angiolina Ortolani-Tiberini | Virginia Pozzi-Branzati | Abla Lynn Hamza | Iulia Maria Dan | ||||
| Geltrude (Gertrude) | Elena Corani | Marietta Bulli-Paoli | Caroline Worra | Dshamilja Kaiser | ||||
| Claudio (Claudius) | Antonio Cotogni | Zenone Bertolasi | Shannon DeVine | Claudio Sgura | ||||
| Lo Spettro (Der Geist) | Eraclito Bagagiolo | Ormondo Maini | Jeffrey Beruan | Gianluca Buratto | ||||
| Laerte (Laertes) | Napoleone Sinigaglia | Luigi Manfredi | Javier Gonzalez | Paul Schweinester | ||||
| Polonio (Polonius) | Cesare Sonino | Angelo De Giuli | Matthew Curran | Eduard Tsanga | ||||
| Orazio (Horatio) | Antonio Furlani | Augusto Gabrielli | Joseph Hubbard | Sébastien Soulès | ||||
| Marcello (Marcellus) | Alessandro Romanelli | Fausto Mola | Paul Bower | Bartosz Urbanowicz | ||||
| Un Sacerdote (Priester) | Angelo De Giuli | Gianluca Buratto | ||||||
| Un Araldo (Herold) | Angelo Rocca | [1] | Jonathan Winell | |||||
| Il Re Gonzaga (König Gonzaga), Schauspieler | Napoleone Sinigaglia | Luigi Manfredi | Jonathan Winell | |||||
| La Regina (Königin), Schauspielerin | Angelina Borotti | Ferdinanda Cappelli | Sabine Winter | |||||
| Luciano, Schauspieler | Alessandro Romanelli | Fausto Mola | Yasushi Hirano | |||||
| Primo Becchino (Erster Totengräber) | Eraclito Bagagiolo | Fausto Mola | Matthew Curran | Yasushi Hirano | ||||
| Secondo Becchino (Zweiter Totengräber) | ||||||||
| Leading Team | ||||||||
| Dirigent | Angelo Mariani | Franco Faccio | Anthony Barrese | Paolo Carignani | ||||
| Regie | David Bartholomew | Olivier Tambosi | ||||||
| Bühnenbild | Cathy Wong | Frank Philipp Schlößmann | ||||||
| Kostüme | Gesine Völlm | |||||||
- ^ In der Fassung von 1871 wurde die zweite Szene des 4. Akts gestrichen und somit auch diese Rolle.