Das Liebesverbot
Encyclopedia
Das Liebesverbot is an early opera
in two acts by Richard Wagner
, with the libretto
written by the composer after Shakespeare's
Measure for Measure
. Described as a grosse komische Oper, it was composed in 1834, and Wagner conducted the premiere in 1836 at Magdeburg
. Poorly attended and with a lead singer who forgot the words and had to improvise, it was a resounding flop and its second performance had to be cancelled after a fist-fight between the prima donna
's husband and a leading tenor broke out backstage before the curtain had even risen. It was never performed again in Wagner's lifetime.
Restrained sexuality and erotics play an important role in Das Liebesverbot; themes that recur throughout much of Wagner's output, most notably in Tannhäuser, Die Walküre
, and Tristan und Isolde
. In each opera, the self-abandonment to love brings the lovers into mortal combat with the surrounding social order. In Das Liebesverbot, because it is a comedy, the outcome is a happy one: unrestrained sexuality wins as the orgiastic carnival of the entire population goes rioting on after curtain-fall.
Wagner's second opera, and his first to be performed, has many signs of an early work: it is very long and straightforwardly inspired by Beethoven
and especially Weber
. It is also referred to as the forgotten comedy, in that only two of Wagner's works are comedies, the other being Die Meistersinger von Nürnberg
.
, but its fully staged premiere took place on July 19, 2008 at the Glimmerglass Opera
in a production by Nicholas Muni. The cast was led by Mark Schnaible as Friedrich and Claudia Waite as Isabella; Corrado Rovaris conducted.
In 2009, a concert production was presented at the International Festival of Young Singers at the Kammeroper Schloss Rheinsberg
plus a staged production at the Staatstheater Braunschweig
in October.
An unnamed king of Sicily leaves his country for a journey to Naples and hands over to the appointed Regent Friedrich full authority to exercise the royal power in order to effect a complete reform in the social habits of his capital, which had provoked the indignation of the Council. The servants of the public authority busily shut up or pull down the houses of popular amusement in a suburb of Palermo, and carry off the inmates as prisoners. The populace oppose this first step, and much scuffling ensues.
Luzio, a young nobleman and juvenile scapegrace, seems inclined to thrust himself forward as leader of the mob, and at once finds an occasion for playing a more active part in the cause of the oppressed people on discovering his friend Claudio being led away to prison. From him he learns that, in pursuance of some musty old law unearthed by Friedrich, he is to suffer the penalty of death for a certain love escapade in which he is involved. His sweetheart, union with whom had been prevented by the enmity of their parents, has borne him a child. Friedrich's puritanical zeal joins cause with the parents' hatred; he fears the worst, and sees his only hope for mercy if his sister Isabella, by her entreaties, can melt the Regent's hard heart. Claudio implores his friend at once to seek out Isabella in the convent of the Sisters of St. Elizabeth, which she has recently entered as novice.
A convent
Isabella is in confidential intercourse with her friend Marianne, also a novice. Marianne reveals to her friend, from whom she has long been parted, the unhappy fate which has brought her to the place. Under vows of eternal fidelity she had been persuaded to a secret liaison with a man of high rank. But finally, when in extreme need she found herself not only forsaken, but threatened by her betrayer, she discovered him to be the mightiest man in the state, none other than the King's Regent himself. Isabella's indignation finds vent in impassioned words, and is only pacified by her determination to forsake a world in which so vile a crime can go unpunished.
When now Luzio brings her tidings of her own brother's fate, Isabella's disgust at her brother's misconduct is turned at once to scorn for the villainy of the hypocritical Regent, who presumes so cruelly to punish the comparatively venial offense of her brother, which, at least, was not stained by treachery. Her violent outburst imprudently reveals her to Luzio in a seductive aspect; smitten with sudden love, he urges her to quit the convent for ever and to accept his hand. She contrives to check his boldness, but resolves at once to avail herself of his escort to the Regent's court of justice.
A courtroom
Several persons are charged by the sbirro captain with offenses against morality. The earnestness of the situation becomes more marked when the gloomy form of Friedrich strides through the inrushing and unruly crowd, commanding silence, and he himself undertakes the hearing of Claudio's case in the sternest manner possible. The implacable judge is already on the point of pronouncing sentence when Isabella enters, and requests, before them all, a private interview with the Regent.
In this interview she behaves with noble moderation towards the dreaded yet despised man before her, and appeals at first only to his mildness and mercy. His interruptions merely serve to stimulate her ardor: she speaks of her brother's offense in melting accents, and implores forgiveness. Friedrich can no longer contain himself, and promises to grant her petition at the price of her own love. Filled with indignation at such villainy, she cries to the people through doors and windows to come in, that she may unmask the hypocrite before the world. By a few significant hints, Friedrich, with frantic energy, succeeds in making Isabella realize the impossibility of her plan. But a few words on her part suffice to transport the Regent himself with ecstasy; for in a whisper she promises to grant his desire, and that on the following night she shall send him such a message as shall ensure his happiness.
And so ends the first act in a whirl of excitement.
Isabella visits her brother in his cell. She reveals Friedrich's shameful proposal to him, and asks if he would wish to save his life at the price of his sister's dishonour. Then follow Claudio's fury and fervent declaration of his readiness to die; whereupon, the unhappy man declines from a state of melancholy to one of weakness. Isabella hesitates in dismay when she sees him fall in this way. Disgusted, she springs to her feet, and declares that to the shame of his death he has further added her most hearty contempt.
After having handed him over again to his gaoler, her mood once more changes swiftly to one of wanton gaiety. True, she resolves to punish the waverer by leaving him for a time in uncertainty as to his fate; but stands firm by her resolve to rid the world of the abominable seducer who dared to dictate laws to his fellow-men.
She tells Marianne that she must take her place at the nocturnal rendezvous, at which Friedrich so treacherously expected to meet her (Isabella), and sends Friedrich an invitation to this meeting. In order to entangle the latter even more deeply in ruin, she stipulates that he must come disguised and masked and fixes the rendezvous in one of those pleasure resorts which he has just suppressed.
To the madcap Luzio, whom she also desires to punish, she relates the story of Friedrich's proposal, and her pretended intention of complying with his desires. This she does in a fashion so incomprehensibly light-hearted that Luzio yields to a fit of desperate rage. He swears that, even if the noble maiden herself can endure such shame, he will himself strive by every means in his power to avert it. And, indeed, he arranges things in such a manner that on the appointed evening all his friends and acquaintances assemble at the end of the Corso, as though for the opening of the prohibited carnival procession.
Outside Friedrich's Palace
At nightfall, Luzio appears sings an extravagant carnival song by which means he seeks to stir the crowd to bloody revolt. When a band of sbirri approaches, under Brighella's leadership, to scatter the gay throng, the mutinous project seems on the point of being accomplished. For the present, however, Luzio prefers to yield and to disperse his followers, as he must first of all win the real leader of their enterprise: for here was the spot which Isabella had mischievously revealed to him as the place of her pretended meeting with the Regent.
For Friedrich, Luzio therefore lies in wait. Recognizing him in an elaborate disguise, he blocks his way and, as Friedrich violently breaks loose, is on the point of following him with shouts and drawn sword when, on a sign from Isabella, who is hidden among some bushes, he is himself stopped and led away. Isabella then advances, rejoicing in the thought of having restored the betrayed Marianne to her faithless spouse. Believing that she holds in her hand the promised pardon for her brother, she is just on the point of abandoning all thought of further vengeance when, breaking the seal, to her intense horror she recognizes by the light of a torch that the paper contains but a still more severe order of execution, which, owing to her desire not to disclose to her brother the fact of his pardon, a mere chance had now delivered into her hand, through the agency of the bribed gaoler.
After a hard fight with the tempestuous passion of love, and recognizing his helplessness against this enemy of his peace, Friedrich has in fact already resolved to face his ruin, even though as a criminal, yet still as a man of honor. An hour on Isabella's breast, and then - his own death by the same law whose implacable severity shall also claim Claudio's life. Isabella, perceiving in this conduct only a further proof of the hypocrite's villainy, breaks out once more into a tempest of agonized despair.
Upon her cry for immediate revolt against the scoundrelly tyrant, the people collect together and form a motley and passionate crowd. Luzio, who also returns, counsels the people with stinging bitterness to pay no heed to the woman's fury; he points out that she is only tricking them - for he still believes in her shameless infidelity. Fresh confusion; increased despair of Isabella; suddenly from the background comes the burlesque cry of Brighella for help, who, himself suffering from the pangs of jealousy, has by mistake arrested the masked Regent, and thus led to the latter's discovery. Friedrich is recognised, and Marianne, trembling on his breast, is also unmasked.
Cries of joy burst forth all round; the needful explanations are quickly given, and Friedrich sullenly demands to be set before the judgment-seat of the returning King. Claudio, released from prison by the jubilant populace, informs him that the sentence of death for crimes of love is not intended for all times; messengers arrive to announce the unexpected arrival in harbor of the King; it is resolved to march in full masked procession to meet the beloved Prince, and joyously to pay him homage, all being convinced that he will heartily rejoice to see how ill the gloomy puritanism of Germany is suited to his hot-blooded Sicily.
The overture is regularly found on radio broadcasts and compilation CDs.
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
in two acts by Richard Wagner
Richard Wagner
Wilhelm Richard Wagner was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas...
, with the libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
written by the composer after Shakespeare's
William Shakespeare
William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon"...
Measure for Measure
Measure for Measure
Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. It was classified as comedy, but its mood defies those expectations. As a result and for a variety of reasons, some critics have labelled it as one of Shakespeare's problem plays...
. Described as a grosse komische Oper, it was composed in 1834, and Wagner conducted the premiere in 1836 at Magdeburg
Magdeburg
Magdeburg , is the largest city and the capital city of the Bundesland of Saxony-Anhalt, Germany. Magdeburg is situated on the Elbe River and was one of the most important medieval cities of Europe....
. Poorly attended and with a lead singer who forgot the words and had to improvise, it was a resounding flop and its second performance had to be cancelled after a fist-fight between the prima donna
Prima donna
Originally used in opera or Commedia dell'arte companies, "prima donna" is Italian for "first lady." The term was used to designate the leading female singer in the opera company, the person to whom the prime roles would be given. The prima donna was normally, but not necessarily, a soprano...
's husband and a leading tenor broke out backstage before the curtain had even risen. It was never performed again in Wagner's lifetime.
Restrained sexuality and erotics play an important role in Das Liebesverbot; themes that recur throughout much of Wagner's output, most notably in Tannhäuser, Die Walküre
Die Walküre
Die Walküre , WWV 86B, is the second of the four operas that form the cycle Der Ring des Nibelungen , by Richard Wagner...
, and Tristan und Isolde
Tristan und Isolde
Tristan und Isolde is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Straßburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting...
. In each opera, the self-abandonment to love brings the lovers into mortal combat with the surrounding social order. In Das Liebesverbot, because it is a comedy, the outcome is a happy one: unrestrained sexuality wins as the orgiastic carnival of the entire population goes rioting on after curtain-fall.
Wagner's second opera, and his first to be performed, has many signs of an early work: it is very long and straightforwardly inspired by Beethoven
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.Born in Bonn, then the capital of the Electorate of Cologne and part of...
and especially Weber
Carl Maria von Weber
Carl Maria Friedrich Ernst von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school....
. It is also referred to as the forgotten comedy, in that only two of Wagner's works are comedies, the other being Die Meistersinger von Nürnberg
Die Meistersinger von Nürnberg
Die Meistersinger von Nürnberg is an opera in three acts, written and composed by Richard Wagner. It is among the longest operas still commonly performed today, usually taking around four and a half hours. It was first performed at the Königliches Hof- und National-Theater in Munich, on June 21,...
.
Performance history
The opera was rarely performed in the following hundred years. In the UK, the first performance was given on 16 February 1965 at the Collegiste Theatre of the University of London. In North America its most successful revival was in 1983, conducted by Wolfgang SawallischWolfgang Sawallisch
Wolfgang Sawallisch is a retired German conductor and pianist.-Biography:Sawallisch was born in Munich, and studied composition and pianoforte there privately: at the conclusion of the war, in 1946 he continued his studies at the Munich High School for Music and passed his final examination for...
, but its fully staged premiere took place on July 19, 2008 at the Glimmerglass Opera
Glimmerglass Opera
Glimmerglass Festival is an opera company which was founded in 1975 by Peter Macris and presents an annual season of operas at the Alice Busch Opera Theater on Otsego Lake eight miles north of Cooperstown, New York, United States.The summer-only season usually consists of four operas performed in...
in a production by Nicholas Muni. The cast was led by Mark Schnaible as Friedrich and Claudia Waite as Isabella; Corrado Rovaris conducted.
In 2009, a concert production was presented at the International Festival of Young Singers at the Kammeroper Schloss Rheinsberg
Kammeroper Schloss Rheinsberg
Kammeroper Schloss Rheinsberg is an international opera festival for young talented singers, founded and directed by German composer Siegfried Matthus. It takes place every summer at the historical Rheinsberg Castle, in Brandenburg...
plus a staged production at the Staatstheater Braunschweig
Staatstheater Braunschweig
Staatstheater Braunschweig is a theatre and opera house in Braunschweig, Germany. Joachim Klement has been the intendant there since 2010.The Staatstheater comprises music theatre, ballet and theatre....
in October.
Roles
| Role | Voice type | Premiere Cast, 29 March 1836 (Conductor: Richard Wagner Richard Wagner Wilhelm Richard Wagner was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas... ) |
|---|---|---|
| Friedrich, the King of Germany's Viceroy in Sicily | bass-baritone Bass-baritone A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the Dutchman in Der fliegende... |
Gräfe Gräfe Gräfe is a surname, and may refer to:*Albrecht von Graefe , German oculist*Annah Graefe, late 20th- early 21st-century German folksinger*Karl Ferdinand von Gräfe , German surgeon... |
| Luzio, a young nobleman | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Freimüller |
| Claudio, a young nobleman | tenor | Schreiber Schreiber Schreiber may refer to:In companies:*Schreiber Foods, world's second largest cheese producer*Schreiber-Verlag, German publishing house*W. Schreiber & Söhne, musical instrument manufacturerIn places:*Schreiber, Ontario, a township in Canada... |
| Antonio, their friend | tenor | |
| Angelo, their friend | baritone | Friedrich Krug |
| Isabella, Claudio's sister | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
Caroline Pollert |
| Mariana | soprano | Limbach Limbach Limbach may refer to:In Germany:*Limbach, Baden-Württemberg, in Baden-Württemberg*Limbach, Bad Kreuznach, in the district of Bad Kreuznach, Rhineland-Palatinate*Limbach, Westerwaldkreis, in the Westerwaldkreis, Rhineland-Palatinate... (or Schindler?) |
| Brighella, captain of the watch | baritone | Wilhelm Kneisel |
| Danieli, an innkeeper | bass | |
| Dorella | soprano | Schindler Schindler -People:* Alexander Schindler , leading figure of American Reform Judaism* Allen R. Schindler, Jr. , was United States Navy officer, victim of a hate crime... (or Limbach?) |
| Pontio Pilato, a bawd | tenor | |
| Nuns, judges, guards, townspeople, musicians | ||
Act 1
The town squareAn unnamed king of Sicily leaves his country for a journey to Naples and hands over to the appointed Regent Friedrich full authority to exercise the royal power in order to effect a complete reform in the social habits of his capital, which had provoked the indignation of the Council. The servants of the public authority busily shut up or pull down the houses of popular amusement in a suburb of Palermo, and carry off the inmates as prisoners. The populace oppose this first step, and much scuffling ensues.
Luzio, a young nobleman and juvenile scapegrace, seems inclined to thrust himself forward as leader of the mob, and at once finds an occasion for playing a more active part in the cause of the oppressed people on discovering his friend Claudio being led away to prison. From him he learns that, in pursuance of some musty old law unearthed by Friedrich, he is to suffer the penalty of death for a certain love escapade in which he is involved. His sweetheart, union with whom had been prevented by the enmity of their parents, has borne him a child. Friedrich's puritanical zeal joins cause with the parents' hatred; he fears the worst, and sees his only hope for mercy if his sister Isabella, by her entreaties, can melt the Regent's hard heart. Claudio implores his friend at once to seek out Isabella in the convent of the Sisters of St. Elizabeth, which she has recently entered as novice.
A convent
Isabella is in confidential intercourse with her friend Marianne, also a novice. Marianne reveals to her friend, from whom she has long been parted, the unhappy fate which has brought her to the place. Under vows of eternal fidelity she had been persuaded to a secret liaison with a man of high rank. But finally, when in extreme need she found herself not only forsaken, but threatened by her betrayer, she discovered him to be the mightiest man in the state, none other than the King's Regent himself. Isabella's indignation finds vent in impassioned words, and is only pacified by her determination to forsake a world in which so vile a crime can go unpunished.
When now Luzio brings her tidings of her own brother's fate, Isabella's disgust at her brother's misconduct is turned at once to scorn for the villainy of the hypocritical Regent, who presumes so cruelly to punish the comparatively venial offense of her brother, which, at least, was not stained by treachery. Her violent outburst imprudently reveals her to Luzio in a seductive aspect; smitten with sudden love, he urges her to quit the convent for ever and to accept his hand. She contrives to check his boldness, but resolves at once to avail herself of his escort to the Regent's court of justice.
A courtroom
Several persons are charged by the sbirro captain with offenses against morality. The earnestness of the situation becomes more marked when the gloomy form of Friedrich strides through the inrushing and unruly crowd, commanding silence, and he himself undertakes the hearing of Claudio's case in the sternest manner possible. The implacable judge is already on the point of pronouncing sentence when Isabella enters, and requests, before them all, a private interview with the Regent.
In this interview she behaves with noble moderation towards the dreaded yet despised man before her, and appeals at first only to his mildness and mercy. His interruptions merely serve to stimulate her ardor: she speaks of her brother's offense in melting accents, and implores forgiveness. Friedrich can no longer contain himself, and promises to grant her petition at the price of her own love. Filled with indignation at such villainy, she cries to the people through doors and windows to come in, that she may unmask the hypocrite before the world. By a few significant hints, Friedrich, with frantic energy, succeeds in making Isabella realize the impossibility of her plan. But a few words on her part suffice to transport the Regent himself with ecstasy; for in a whisper she promises to grant his desire, and that on the following night she shall send him such a message as shall ensure his happiness.
And so ends the first act in a whirl of excitement.
Act 2
A prisonIsabella visits her brother in his cell. She reveals Friedrich's shameful proposal to him, and asks if he would wish to save his life at the price of his sister's dishonour. Then follow Claudio's fury and fervent declaration of his readiness to die; whereupon, the unhappy man declines from a state of melancholy to one of weakness. Isabella hesitates in dismay when she sees him fall in this way. Disgusted, she springs to her feet, and declares that to the shame of his death he has further added her most hearty contempt.
After having handed him over again to his gaoler, her mood once more changes swiftly to one of wanton gaiety. True, she resolves to punish the waverer by leaving him for a time in uncertainty as to his fate; but stands firm by her resolve to rid the world of the abominable seducer who dared to dictate laws to his fellow-men.
She tells Marianne that she must take her place at the nocturnal rendezvous, at which Friedrich so treacherously expected to meet her (Isabella), and sends Friedrich an invitation to this meeting. In order to entangle the latter even more deeply in ruin, she stipulates that he must come disguised and masked and fixes the rendezvous in one of those pleasure resorts which he has just suppressed.
To the madcap Luzio, whom she also desires to punish, she relates the story of Friedrich's proposal, and her pretended intention of complying with his desires. This she does in a fashion so incomprehensibly light-hearted that Luzio yields to a fit of desperate rage. He swears that, even if the noble maiden herself can endure such shame, he will himself strive by every means in his power to avert it. And, indeed, he arranges things in such a manner that on the appointed evening all his friends and acquaintances assemble at the end of the Corso, as though for the opening of the prohibited carnival procession.
Outside Friedrich's Palace
At nightfall, Luzio appears sings an extravagant carnival song by which means he seeks to stir the crowd to bloody revolt. When a band of sbirri approaches, under Brighella's leadership, to scatter the gay throng, the mutinous project seems on the point of being accomplished. For the present, however, Luzio prefers to yield and to disperse his followers, as he must first of all win the real leader of their enterprise: for here was the spot which Isabella had mischievously revealed to him as the place of her pretended meeting with the Regent.
For Friedrich, Luzio therefore lies in wait. Recognizing him in an elaborate disguise, he blocks his way and, as Friedrich violently breaks loose, is on the point of following him with shouts and drawn sword when, on a sign from Isabella, who is hidden among some bushes, he is himself stopped and led away. Isabella then advances, rejoicing in the thought of having restored the betrayed Marianne to her faithless spouse. Believing that she holds in her hand the promised pardon for her brother, she is just on the point of abandoning all thought of further vengeance when, breaking the seal, to her intense horror she recognizes by the light of a torch that the paper contains but a still more severe order of execution, which, owing to her desire not to disclose to her brother the fact of his pardon, a mere chance had now delivered into her hand, through the agency of the bribed gaoler.
After a hard fight with the tempestuous passion of love, and recognizing his helplessness against this enemy of his peace, Friedrich has in fact already resolved to face his ruin, even though as a criminal, yet still as a man of honor. An hour on Isabella's breast, and then - his own death by the same law whose implacable severity shall also claim Claudio's life. Isabella, perceiving in this conduct only a further proof of the hypocrite's villainy, breaks out once more into a tempest of agonized despair.
Upon her cry for immediate revolt against the scoundrelly tyrant, the people collect together and form a motley and passionate crowd. Luzio, who also returns, counsels the people with stinging bitterness to pay no heed to the woman's fury; he points out that she is only tricking them - for he still believes in her shameless infidelity. Fresh confusion; increased despair of Isabella; suddenly from the background comes the burlesque cry of Brighella for help, who, himself suffering from the pangs of jealousy, has by mistake arrested the masked Regent, and thus led to the latter's discovery. Friedrich is recognised, and Marianne, trembling on his breast, is also unmasked.
Cries of joy burst forth all round; the needful explanations are quickly given, and Friedrich sullenly demands to be set before the judgment-seat of the returning King. Claudio, released from prison by the jubilant populace, informs him that the sentence of death for crimes of love is not intended for all times; messengers arrive to announce the unexpected arrival in harbor of the King; it is resolved to march in full masked procession to meet the beloved Prince, and joyously to pay him homage, all being convinced that he will heartily rejoice to see how ill the gloomy puritanism of Germany is suited to his hot-blooded Sicily.
Recordings
- Das Liebesverbot, conducted by Sir Edward Downes with April CanteloApril CanteloApril Cantelo is an English soprano.She was born Rosemary April Cantelo in Purbrook, Hampshire. She attended Chelmsford County High School for Girls. She studied in London under Vilém Tauský, Joan Cross, Imogen Holst and others...
(Isabella), Alexander YoungAlexander Young (tenor)Alexander Basil Young was an English tenor who had an active career performing in concerts and operas from the late 1940s through the early 1970s. He was particularly admired for his performances in the operas of Handel, Mozart, and Rossini.In 1953 he performed the role of Tom Rakewell in the...
(Luzio), Raimund HerincxRaimund HerincxRaimund Frederick Herincx is a British operatic bass baritone. Throughout a varied international career, Herincx performed in most of the world's great opera houses and with many of the world's leading symphony orchestras, having been in demand in international opera and in the choral and...
(Friedrich) etc. BBC Northern Symphony Orchestra, BBC Northern Singers. Live, complete and uncut, concert recording 23 May 1976, with bonus tracks from a 1971 Sadler's Wells Opera performance of Lohengrin, sung in English and conducted by Nicholas BraithwaiteNicholas BraithwaiteNicholas Paul Dallon Braithwaite is an English conductor. He is the son of the conductor Warwick Braithwaite.Braithwaite studied at the Royal Academy of Music, at the Festival masterclasses in Bayreuth, and with Hans Swarowsky in Vienna. In the 1960s, Braithwaite was associate conductor of the...
with a cast led by Margaret Curphy as Elsa, Clifford GrantClifford GrantClifford Scantlebury Grant is a retired Australian operatic bass singer.Clifford Grant was born in Sydney. In 1966 he joined Sadler's Wells Opera company and on 20 December 1974 he had his debut at the Royal Opera House in Mozart's The Marriage of Figaro, in the role of Doctor Bartolo...
as Heinrich der Vogler, Raimund Herincx as Telramund, and Judith Turner as Ortrud (Ponto POCD1055) - Wolfgang SawallischWolfgang SawallischWolfgang Sawallisch is a retired German conductor and pianist.-Biography:Sawallisch was born in Munich, and studied composition and pianoforte there privately: at the conclusion of the war, in 1946 he continued his studies at the Munich High School for Music and passed his final examination for...
conducting the Bavarian State Opera. Hass, Coburn, Schunk, Prey. 1995 (Orfeo D'or). - Robert HegerRobert HegerRobert Heger was a German conductor and composer from Strasbourg, Alsace-Lorraine.He studied at the Conservatory of Strasbourg, under Franz Stockhausen, then in Zurich under Lothar Kempter, and finally in Munich under Max von Schillings. After early conducting engagements in Strasbourg he made his...
conducting the Austrian Rundfunk Chor and Orchester, with Heinz Imdahl, Ernst Salzer, Anton DermotaAnton DermotaKammersänger Anton Dermota was a Slovene tenor.He was born in a poor family Born in the Upper Carniolan village of Kropa, in what was then the Austro-Hungarian Empire . He went to the Ljubljana Conservatory with the intention of studying composition and organ, but in 1934 he received a scholarship...
, Kurt EquiluzKurt EquiluzKurt Equiluz is an Austrian classical tenor in opera and concert, known for recording works of Johann Sebastian Bach with Nikolaus Harnoncourt and Helmuth Rilling, a member of the Vienna State Opera as a tenor buffo from 1957 until 1983.- Professional career :Kurt Equiluz was an alto soloist of...
, Willy Friedrich, Hilde Zadek, Christiane Sorrell, Hannelore Steffek, Ernst Salzer, Ludwig Welter, Franz Handlos, Herbert Prikopa. Vienna 1962. (Melodram, 3 LP set 244, 2 CD set 10040).
The overture is regularly found on radio broadcasts and compilation CDs.
External links
- IMSLP: Complete Vocal Score http://imslp.org/wiki/Das_Liebesverbot%2C_WWV38_%28Wagner%2C_Wilhelm_Richard%29