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Richard Strauss’s Der Rosenkavalier: A survey of all ten studio recordings and selected live performances by Ralph Moore Der Rosenkavalier is Strauss’ most popular opera by far, regularly performed worldwide and maintaining a secure place in the repertoire since its premiere in 1911. Nonetheless, many of its most
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ein paar Sitzmobel. Auf einem Fauteuil links liegt ein Degen in der Scheide. Rechts grosse Flugeltiiren in das Vorzimmer. In der Mitte kaum sichtbar kleine Tijre in die Wand eingelassen. Sonst keine Tiiren. In dem Alkoven rechts steht ein Frisiertisch und ein paar Sessel an der Wand.
Der Rosenkavalier. Alt ernative Title. Komödie für Musik in drei Akten. Name Translations. 玫瑰騎士; Il cavaliere della rosa; Rosenkavaleren; Ruusuritari; ばらの騎士; Name Aliases. Кавалер розы (опера); Кавалер роз (опера); Le Chevalier à la rose (Richard Strauss); Le chevalier à la rose; Le Chevalier ...
- Komödie für Musik in drei Akten
- Der Rosenkavalier
Sep 18, 2021 · lp_der-rosenkavalier_richard-strauss Identifier-ark ark:/13960/t3qw5sx6h Lineage Technics SL1200MK5 Turntable + Audio-Technica AT95e cartridge > Radio Design Labs EZ-PH1 phono preamp > Focusrite Scarlett 2i2 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang de Ocr_detected_lang_conf
FULL SCORE - ACT 1 FULL SCORE - ACT 2 FULL SCORE - ACT 3 INSTRUMENTATION. 3d1, 3d1, 3d1, basset horn (bass clarinet), 3d1 - 4, 3, 3, 1 timp, perc, 2 harps, celesta, strings Chorus Offstage band (including harmonium and piano) CONTEXT. Der Rosenkavalier first premiered at the Königliches Opernhaus in Dresden in 1911.
Der Rosenkavalier was a huge hit. In 1944, Strauss, with the help of the Polish conductor Artur Rodzinski, compiled several waltzes from the opera into a suite. The suite begins with the orchestral introduction to the opera. The music then moves to the love scene between Octavian and the Marschallin. Octavian’s “Rosenkavalier” music is
often lurid narrative elicited a more daring and demanding musical language, full of extreme chromaticism and harsh timbres. His next opera, Der Rosenkavalier, turned to a more focused, almost neoclassical ap-proach. By the twenties, Strauss seemed like a ghost from the past. His librettist, Hofmanstahl, had died sud-
