Misplaced Pages

#910089

61-440: Schikaneder is a German surname. Notable people with the surname include: Emanuel Schikaneder (1751–1812), German impresario and librettist Jakub Schikaneder (1855–1924), Czech painter Karl Schikaneder (1773–1845), actor, poet, and composer [REDACTED] Surname list This page lists people with the surname Schikaneder . If an internal link intending to refer to

122-534: A resolution of the overture in the tonic but chords in the dominant of G minor , which is the home key of the scene that immediately follows. Island of Crete , shortly after the Trojan War . Ilia, daughter of the defeated Trojan King Priam , has been taken to Crete after the war. She loves Prince Idamante, son of the Cretan King Idomeneo, but hesitates to acknowledge her love. Idamante frees

183-402: A Trojan, will soon become Queen of Crete, feels the furies of the underworld rise up in her heart (aria: "Tutte nel cor vi sento, furie del crudo averno" – "I feel you all in my heart, furies of the cruel underworld"). Idomeneo is saved by Neptune (god of the sea) and is washed up on a Cretan beach. There he recalls the vow he made to Neptune: to sacrifice, if he should arrive safely on land,

244-560: A castrato to a tenor. The British premiere was given by the amateur Glasgow Grand Opera Society in 1934. The first performance in the United States was produced by Boris Goldovsky at the Berkshire Music Festival at Tanglewood during the summer of 1947. Today Idomeneo is part of the standard operatic repertoire. There are several recordings of it (see below), and it is regularly performed. In 2006 there

305-403: A concert work. Although many of the works performed were popular successes, the expenses of Schikaneder's elaborate productions were high, and the company gradually fell into debt. In 1798, Schikaneder's landlord learned that the debt had risen to 130,000 florins and canceled Schikaneder's lease. Schikaneder persuaded Bartholomäus Zitterbarth, a wealthy merchant, to become his partner and take on

366-689: A contribution of Giesecke. During this period, Schikaneder would several times a year devote the theater to an Academie , or in modern terms, a classical music concert. Symphonies of Mozart and Haydn were performed, and a young Beethoven appeared as a piano soloist. Schikaneder maintained in the repertory seven Mozart operas: Die Entführung aus dem Serail , Le nozze di Figaro , Der Schauspieldirektor , Don Giovanni , Così fan tutte , La clemenza di Tito , and The Magic Flute . The Italian operas were performed in German translation. As noted above, Schikaneder also produced La clemenza di Tito as

427-610: A court ballet in Innsbruck in 1774, and the following year his Singspiel Die Lyranten was debuted there. This was a great success and was performed frequently in the following years. Schikaneder was the librettist, composer, and principal singer, a versatility he would continue to exhibit throughout his career. In the fall of 1780, the Schikaneder troupe made an extended stay in Salzburg , and at that time Schikaneder became

488-577: A family friend of the Mozarts. The Mozart family at the time consisted of father Leopold , Nannerl , and Wolfgang . The Mozarts "rarely missed his shows" (Heartz), and invited Schikaneder to Sunday sessions of Bölzlschiessen (dart shooting), their favorite family sport. As Mozart was about to depart Salzburg for the premiere in Munich of his opera Idomeneo , he promised before leaving to write "Wie grausam ist, o Liebe...Die neugeborne Ros' entzückt",

549-537: A hundred performances at the Theater auf der Wieden during its first few months of performance. Schikaneder continued to produce the opera at intervals for the rest of his career in Vienna. Mozart died only a few weeks after the premiere, on 5 December 1791. Schikaneder was distraught at the news and felt the loss sharply. He evidently put on a benefit performance of The Magic Flute for Mozart's widow Constanze , who at

610-476: A journey to Budapest in 1812 to take a new post, he became insane. He died impoverished in Vienna on 21 September 1812 at age 61. Two of Schikaneder's relatives were also his professional associates: Schikaneder's illegitimate son Franz Schikaneder (1802–1877) was a blacksmith in the service of Emperor Ferdinand I of Austria . Works by Schikaneder include 56 libretti and 45 spoken-language plays, among them: In Miloš Forman 's film Amadeus , Schikaneder

671-471: A living selling religious articles from a wooden shed adjacent to the local cathedral. Schikaneder received his education at a Jesuit school in Regensburg as well as training in the local cathedral as a singer. As a young adult, he began to pursue his career in the theater, appearing with Andreas Schopf's theatrical troupe around 1773 and performing opera, farce , and Singspiel . Schikaneder danced at

SECTION 10

#1732776650911

732-450: A new company in the same theater in partnership with her. The new company was financed by Joseph von Bauernfeld, a Masonic brother of Mozart. With plans of an emphasis on opera, Schikaneder brought two singers with him from his old troupe, tenor Benedikt Schack and bass Franz Xaver Gerl . From his wife's company he retained soprano Josepha Hofer , actor Johann Joseph Nouseul , and Karl Ludwig Giesecke as librettist. New additions to

793-679: A new theater. In 1800, he had an audience with the now-reigning Franz , which resulted in a renewal of the license—over the protests of Peter von Braun , who directed the Burgtheater . In retaliation, Braun mounted a new production of The Magic Flute at the Burgtheater, which did not mention Schikaneder as the author. Construction of the new theater, which was named the Theater an der Wien , began in April 1800. It opened 13 June 1801 with

854-468: A performance of the opera Alexander , to Schikaneder's own libretto with music by Franz Teyber . According to the New Grove , the Theater an der Wien was "the most lavishly equipped and one of the largest theatres of its age". There, Schikaneder continued his tradition of expensive and financially risky theatrical spectacle. Ludwig van Beethoven had moved to Vienna in 1792 and gradually established

915-534: A recitative and aria for Schikaneder. The composition was intended for Schikaneder's production of Die zwey schlaflosen Nächte by August Werthes. From November 1784 to February 1785, Schikaneder collaborated with theater director Hubert Kumpf for a series of performances at the Kärntnertortheater in Vienna. He had been invited to do so by the Emperor Joseph II , who had seen him perform

976-560: A specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Schikaneder&oldid=1014880414 " Categories : Surnames German-language surnames Hidden categories: Articles with short description Short description is different from Wikidata All set index articles Emanuel Schikaneder Emanuel Schikaneder (born Johann Joseph Schickeneder ; 1 September 1751 – 21 September 1812)

1037-557: A strong reputation as a composer and pianist. He performed in an Academie at the Theater auf der Wieden during its last years. In the spring of 1803, the first Academie at the new Theater an der Wien was devoted entirely to Beethoven's works: the first and second symphonies, the third piano concerto (with Beethoven as soloist), and the oratorio Christ on the Mount of Olives . Schikaneder wanted Beethoven to compose an opera for him. After offering Beethoven an apartment to live in inside

1098-460: A team of time travelers visit Vienna to extend Mozart's life. The most extensive source on Schikaneder in English is Honolka (1990), listed below. Idomeneo The libretto clearly draws inspiration from Metastasio in its overall layout, the type of character development, and the highly poetic language used in the various numbers and the secco and stromentato recitatives . The style of

1159-464: A vehicle for Schikaneder's comic stage persona. Another line of performances by the company involved fairy tale operas, starting with the 1789 premiere of Oberon , with music by Paul Wranitzky and a libretto that was a readaptation of Friederike Sophie Seyler 's original libretto. This was followed by Der Stein der Weisen oder Die Zauberinsel in September 1790, a collaborative opera marked by

1220-464: Is in a modified sonata form in which the development is but a very short transition section connecting the exposition with the recapitulation . Other conventional hallmarks of the sonata form are apparent: the exposition modulates from the tonic (D major) to the dominant ( A major ), while the recapitulation is centred on the tonic. The overture concludes with a coda ending in D major chords. These chords, soft and tentative, turn out not to be

1281-484: Is near death working with Salieri on their piece. In 2016, the musical Schikaneder by Stephen Schwartz and Christian Stuppeck and directed by Trevor Nunn , based on the premise that The Magic Flute sprang from Schikaneder's tumultuous relationship with Eleonore, debuted at the Raimund Theater . In the time travel novel Time for Patriots Schikaneder appears as Mozart's friend and collaborator when

SECTION 20

#1732776650911

1342-414: Is portrayed by Simon Callow . He is a friend of Mozart, but frequently takes his works and turns them into low-brow comedies, which upsets Mozart's wife Constanze . Furthermore, his demands for new scripts put Mozart under pressure, exacerbating the stress he is under from writing his requiem . He is last seen calling upon Mozart following a performance to provide him with his fee, not knowing that Mozart

1403-464: Is preoccupied with revenge. Arbace comes with news that the people, led by the High Priest of Neptune, are clamoring for Idomeneo. The High Priest tells the king of the destruction caused by Neptune's monster, urging Idomeneo to reveal the name of the person whose sacrifice is demanded by the god. When the king confesses that his own son is the victim, the populace is horrified. Outside the temple,

1464-527: Is scored for the opera's full orchestra of flutes, oboes, clarinets (only present in the passacaille), bassoons, horns, trumpets, timpani, and strings. It showcases the many famous techniques of the Mannheim orchestra , including stupefying crescendos and tutti passages. Throughout the manuscript, Mozart wrote the dancers who would be partaking in a specific section of the ballet; id est, "Pas seul de Mad. Falgera", or "Pas seul de Mr. [Jean-Pierre] Le Grand", who

1525-495: The Holy Roman Empire to Joseph Schickeneder and Juliana Schiessl. Both of his parents worked as domestic servants and were extremely poor. They had a total of four children: Urban (born 1746), Johann Joseph (died at age two), Emanuel (born 1751 and also originally named Johann Joseph), and Maria (born 1753). Schikaneder's father died shortly after Maria's birth, at which time his mother returned to Regensburg , making

1586-612: The D major Pas seul , perfect for concluding an opera. Along with the Chaconne up to the Pas seul , which form a consistent whole via attacca transitions, the manuscript is bound with three other dances; a passepied in B-flat, a gavotte in G (which is rather famous; Tchaikovsky conducted it at one of his Russian Musical Society concerts), and an unfinished passacaille in E-flat. Due to

1647-489: The Theater an der Wien, but not under Schikaneder's direction. By 1804, Schikaneder's career had taken a downward turn; his productions could not bring in enough customers to cover their cost. He sold the Theater an der Wien to a consortium of nobles and left Vienna for the provinces, working in Brno and Steyr . Following economic problems caused by war and an 1811 currency devaluation, Schikaneder lost most of his fortune. During

1708-617: The Trojan prisoners in a gesture of good will. He tells Ilia, who is rejecting his love, that it is not his fault that their fathers were enemies. Trojans and Cretans together welcome the return of peace, but Electra , daughter of the Greek King Agamemnon , is jealous of Ilia and does not approve of Idamante's clemency toward the enemy prisoners. Arbace, the king's confidant, brings news that Idomeneo has been lost at sea while returning to Crete from Troy. Electra, fearing that Ilia,

1769-401: The breezes to carry her love to Idamante, who appears, explaining that he must go to fight the serpent. When he says he would rather die than suffer the torments of his rejected love, Ilia confesses her love. They are surprised by Electra and Idomeneo. When Idamante asks his father why he sends him away, Idomeneo can only reply that the youth must leave. Ilia asks for consolation from Electra, who

1830-452: The choruses, marches, and ballets is very French, and the shipwreck scene towards the end of act 1 is almost identical to the structure and dramatic working-out of a similar scene in Gluck 's Iphigénie en Tauride . The sacrifice and oracle scenes are similar to Gluck's Iphigénie en Aulide and Alceste . Kurt Kramer has suggested that Varesco was familiar with Calzabigi and therefore

1891-501: The debt. As a result, the company was saved. Schikaneder and his new partner Zitterbarth planned together to construct a grand new theater for the company. Zitterbarth purchased the land for the new theater on the other side of the Wien River , in another suburb only a few hundred meters away from the Theater auf der Wieden. Schikaneder still had in his possession a document from the late Emperor Joseph II permitting him to construct

Schikaneder - Misplaced Pages Continue

1952-470: The first living creature he should meet. Idamante approaches him, but because the two have not seen each other for a long time, recognition is difficult. When Idomeneo finally realizes the youth that he must sacrifice for the sake of his vow is his own child, he orders Idamante never to seek him out again. Grief-stricken by his father's rejection, Idamante runs off. Cretan troops disembarking from Idomeneo's ship are met by their wives, and all praise Neptune. At

2013-419: The idea of going to Argos with Idamante. At the port of Sidon (a fictional city of Crete), Idomeneo bids his son farewell and urges him to learn the art of ruling while he is away. Before the ship can sail, however, a storm breaks out, and a sea serpent appears. Recognizing it as a messenger from Neptune, the king offers himself as atonement for having violated his vow to the god. In the royal garden, Ilia asks

2074-489: The king and High Priest join Neptune's priests in prayer that the god may be appeased. Arbace brings news that Idamante has killed the monster. As Idomeneo fears new reprisals from Neptune, Idamante enters in sacrificial robes, saying he understands his father's torment and is ready to die. After an agonizing farewell, Idomeneo is about to sacrifice his son when Ilia intervenes, offering her own life instead. The Voice of Neptune

2135-458: The king's palace, Idomeneo seeks counsel from Arbace, who says another victim could be sacrificed if Idamante were sent into exile. Idomeneo orders his son to escort Electra to her home, Argos . Idomeneo's kind words to Ilia move her to declare that since she has lost everything, he will be her father and Crete her country. As she leaves, Idomeneo realizes that sending Idamante into exile has cost Ilia her happiness as well as his own. Electra welcomes

2196-599: The line, initiating a production of Beaumarchais ' then-scandalous send-up of the aristocracy, The Marriage of Figaro . This production was canceled by the Emperor at the last minute. In spite of the content and cancellation of the production, Joseph II brought Schikaneder over and he entered Imperial service from April 1785 through February 1786. During his service, he performed in the Austrian Nationaltheater at Burgtheater . During his debut he sang

2257-464: The main role and which achieved popular success. These included collaborations with other composers of the time: Der Spiegel von Arkadien with Mozart's assistant Franz Xaver Süssmayr , Der Tyroler Wastel with Mozart's posthumous brother-in-law Jakob Haibel , and a Magic Flute sequel called Das Labyrinth , with Peter von Winter . A big box office draw during this time was a rhymed-verse comedy, Der travestierte Aeneas ( The Travesty of Aeneas ),

2318-408: The music left behind. For example, Ilia's opening aria " Padre, germani, addio! " is mostly intact with a few changes to the long introductory recitative, but when Idamante (specifically written to be sung by a tenor in this version) enters, he sings Mozart's Non piu, tutto ascoltai, K490 (which was added to Mozart's original revision of Idomeneo ) instead of " Non ho colpa ". A few major changes to

2379-525: The musical collaboration of Gerl, Schack, Schikaneder and Mozart. In a review of a performance at the Theater auf der Wieden by a north German commentator in 1793, most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr , Hoffmeister etc., writing that they were performed with rare skill ( ungemein artig ). Seyfried describes Kapellmeister Henneberg conducting

2440-513: The musical direction of Christian Cannabich . The opera apparently owed much of its success at its first performance to the set designs: a notice in the Munich press did not mention Mozart by name but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor Lorenzo Quaglio , and everyone admired them tremendously." Idomeneo

2501-420: The orchestra from the "pianoforte ... like a General commanding an army of musicians!" The series of fairy-tale operas at the Theater auf der Wieden culminated in the September 1791 premiere of The Magic Flute , with music by Mozart and libretto by Schikaneder. The opera incorporated a loose mixture of Masonic elements and traditional fairy-tale themes (see Libretto of The Magic Flute ). Schikaneder took

Schikaneder - Misplaced Pages Continue

2562-486: The plot were made as well, such as changing princess Elettra to priestess Ismene. Critics have noted that Strauss's additions contain an interesting blend of the classical style of composition and Strauss's own characteristic sound. In 1984, New York's Mostly Mozart Festival presented Strauss's version with Jerry Hadley in the title role, Delores Ziegler as Idamante, and Alessandra Marc as Ismene. The instrumentation is: The overture , in D major and common time ,

2623-476: The previous year in Pressburg . The Vienna run was admired by critics and attracted large audiences, often including the Emperor and his court. Schikaneder and Kumpf opened their season with a revival of Mozart's Die Entführung aus dem Serail . Joseph Haydn 's La fedeltà premiata was also performed by the troupe. Works of spoken drama were of interest for their political content. The Austrian Empire at

2684-411: The recitatives are all classically Italian. As per French tradition, the opera uses ballet to its advantage. Mozart wrote one to be performed in the opera (K. 367) which he considered more of a Lullian divertissement . It is in several parts and lasts around fifteen minutes. The structure is as follows. The first four dances transition into each other, while the last three are separate. The ballet

2745-488: The role of Papageno—a character reflecting the Hanswurst tradition, and thus suited to his skills—at the premiere. According to the dramatist Ignaz Franz Castelli , Schikaneder also may have given advice to Mozart concerning the musical setting of his libretto: The late bass singer Sebastian Mayer told me that Mozart had originally written the duet where Papageno and Papagena first see each other quite differently from

2806-506: The role of Schwindel in Gluck 's Singspiel Die Pilgrime von Mekka . During Easter 1788, the troupe run by Johann Friedel and Eleonore Schikaneder had settled as the resident troupe at the Theater auf der Wieden , located in a suburb of Vienna. Friedel died on 31 March 1789, leaving his entire estate to Eleonore, and the theater was closed. Following this, Eleonore offered reconciliation to Schikaneder, who moved to Vienna in May to start

2867-446: The score by Richard Strauss . For his adaptation of Idomeneo , Strauss employed a German libretto by Lothar Wallerstein that was partially a translation of the original Italian libretto, but with some changes to reflect the rearranging of the music. Strauss replaced about 1/3 of Mozart's score with some of his own music (even introducing the "Fall of Troy" motif from his own 1928 opera Die ägyptische Helena ), and rearranged much of

2928-535: The separation from the first half of the ballet, as well as the incomplete status of them, Daniel Heartz speculates that they were simply never performed. Gluck's influence on Mozart is demonstrated as the Chaconne begins with a musical quotation from Gluck's ballet from Iphigénie en Aulide . It was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under

2989-624: The singers (too many "i"s in "rinvigorir", which in Italian are pronounced as in b ee ). Idomeneo was performed three times in Munich. Later in 1781 Mozart considered (but did not put into effect) revisions that would have brought the work closer into line with Gluck's style; this would have meant a bass Idomeneo and a tenor Idamante. A concert performance was given in 1786 at the Palais Auersperg in Vienna. For this, Mozart wrote some new music, made some cuts, and changed Idamante from

3050-402: The theater building, he also offered his libretto, Vestas Feuer . Beethoven, however, found Vestas Feuer unsuited to his needs. He did, however, set the opening scene, part of which ultimately became the duet "O namenlose Freude" from his 1804 opera Fidelio . Beethoven continued to live in the Theater an der Wien for a while as he switched his efforts to Fidelio . Fidelio premiered in

3111-502: The time faced a difficult financial situation. When his troupe mounted a concert performance of Mozart's La clemenza di Tito in 1798, he wrote in the program: Mozart's work is beyond all praise. One feels only too keenly, on hearing this or any other of his music, what the Art has lost in him. Schikaneder's career continued in the same theater during the years that followed The Magic Flute . He continued to write works in which he played

SECTION 50

#1732776650911

3172-543: The time was governed (like most of Europe) by the system of hereditary aristocracy, which was falling under increasing criticism as the values of the Enlightenment spread. Schikaneder put on a successful comedy entitled Der Fremde which included a character named Baron Seltenreich ("seldom-rich") who was "a caricature of a scheming windbag of the Viennese aristocracy". Schikaneder and his colleague then stepped over

3233-650: The troupe included Anna Gottlieb and Jakob Haibel . The new company was successful, and Die Entführung aus dem Serail again became part of the repertory. Several aspects of the company's work emerged that later came to be immortalized in The Magic Flute . A series of musical comedies starting with Der Dumme Gärtner aus dem Gebirge, oder Die zween Antons ("The Foolish Gardener from the Mountains, or The Two Antons"), premiered in July 1789. The comedy provided

3294-408: The way in which we now hear it. Both originally cried out "Papageno!", "Papagena!" a few times in amazement. But when Schikaneder heard this, he called down into the orchestra, "Hey, Mozart! That's no good, the music must express greater astonishment. They must both stare dumbly at each other, then Papageno must begin to stammer: 'Pa-papapa-pa-pa'; Papagena must repeat that until both of them finally get

3355-542: The whole name out. Mozart followed the advice, and in this form the duet always had to be repeated." Castelli adds that the March of the Priests which opens the second act was also a suggestion of Schikaneder's, added to the opera at the last minute by Mozart. These stories are not accepted as necessarily true by all musicologists. The Magic Flute was a great success at its premiere, frequently selling out and receiving over

3416-476: The work of Gluck, especially the latter's Alceste ; much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi. It is thanks to Mozart, though, that this mixture of French styles (apart from a few choruses) moves away from Gluck and France and returns to its more Italian ( opera seria ) roots; the singers were all trained in the classical Italian style, after all, and

3477-442: Was Mozart's first mature opera, in which he – unique among composers – for the first time and continuing this for all his subsequent operas, ended the work in the key of the overture . With Idomeneo , he demonstrated a mastery of orchestral color, accompanied recitatives, and melodic line. Mozart fought with the librettist, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by

3538-532: Was a German impresario, dramatist, actor, singer, and composer. He wrote the libretto of Wolfgang Amadeus Mozart 's opera The Magic Flute and was the builder of the Theater an der Wien . Peter Branscombe called him "one of the most talented theatre men of his era". Aside from Mozart, he worked with Salieri , Haydn and Beethoven . Schikaneder was born in Straubing in the Electorate of Bavaria in

3599-609: Was a controversy over the cancelling of a 2003 production directed by Hans Neuenfels at the Deutsche Oper Berlin (see 2006 Idomeneo controversy ). The approach of the 150th anniversary of Idomeneo' s premiere placed some major European opera houses in a quandary: commemorative performances of so magnificent and historically important a score seemed obligatory, but, at the same time, how dared they mount an opera that 1930/31 audiences were bound to reject as hopelessly unstageworthy? The solution hit on in Munich and Vienna

3660-468: Was the main choreographer for the opera's Munich premiere. It is unclear exactly where Mozart had intended the divertissement to occur in the opera. In the Neue Mozart-Ausgabe , Harald Heckmann suggests that it was performed after the first act, but Daniel Heartz states that it must have been performed after the final chorus of the third and last act, citing the majesty and pomposity of

3721-473: Was to have Idomeneo adapted for modern tastes, but to show due reverence to Mozart's genius by entrusting the adaptations to famous twentieth-century opera composers with impeccable credentials as Mozarteans. Thus Munich commissioned an Idomeneo revision from Ermanno Wolf-Ferrari , performed in 1931, and the same year the Vienna State Opera presented a distinctively interventionist version of

SECTION 60

#1732776650911
#910089