Recitals of the Salzburg Festival
The song recitals of the Salzburg Festival have been an integral part of the festival since 1956 . Prominent lieder singers appeared or appear regularly in Salzburg - including Lotte Lehmann , Dietrich Fischer-Dieskau , Elisabeth Schwarzkopf , Irmgard Seefried , Fritz Wunderlich , Christa Ludwig , Hermann Prey , Jessye Norman , Peter Schreier , Thomas Quasthoff , Matthias Goerne and Christian Gerhaher .
history
Founding years
In the economically difficult early years of the festival, drama and opera were the focus of development work. The concert sector was not yet differentiated in the 1920s and 1930s, at that time it essentially consisted of orchestral concerts by the Vienna Philharmonic , concerts of sacred music in the cathedral and in the collegiate church of St. Peter , as well as the serenades in the Residenzhof , which were mostly dedicated to Mozart . Chamber concerts and recitals took place only occasionally.
Although the Salzburg Festival was founded in 1920 - with Jedermann am Domplatz - and the first concerts took place in 1921, it was not until 1933 that recitals were included as regular items on the program. When Lotte Lehmann did not want to join the Nazi cultural scene and was no longer allowed to perform in Germany, Salzburg offered her - in addition to numerous operatic roles - a platform for song singing. She was accompanied on the piano in six recitals by the conductor Bruno Walter . Immediately after the annexation of Austria , both had to emigrate to the United States .
Beniamino Gigli's appearance in a concert of sacred music in the cathedral in 1936 is based on an attempted barter: When the Italian dictator Benito Mussolini asked the Austrian dictator Engelbert Dollfuss to have his piece Giulio Cesare performed in Salzburg, the latter responded with a request for one Enter Gigli. The concert took place, but the Mussolini piece was never performed in Salzburg.
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Post-war years
During the National Socialist regime in Austria there were no recitals at the Salzburg Festival. After the fall of the Third Reich in 1945, six Austrian evenings were scheduled in the Mozarteum , including five recitals and a chamber concert. Again, the festival served - as in the inter-war period - to identify the Austrian nation and to differentiate itself from its large neighbor Germany . The fact that the legendary Cebotari was born in Chișinău and that the composers Handel and Loewe came from Saxony-Anhalt played a subordinate role.
With the performances of the American soprano Grace Moore and the British tenor Peter Pears (accompanied on the piano by his partner Benjamin Britten ), the organizers tried on the one hand to build on the glamor of Salzburg in the 1930s, on the other hand to win over the Western occupying powers .
The song did not become a permanent fixture in the festival program until 1953 and 1954, when two members of the Mozart Ensemble of the Vienna State Opera played recitals in Salzburg: the elegant Elisabeth Schwarzkopf with two Hugo Wolf programs and the modest Irmgard Seefried with one Schubert evening.
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1945 |
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1952 |
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1953 |
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Time of Karl Böhm and Herbert von Karajan
Most of the recitals from 1956 to 1991 were characterized by exquisite singing culture. They were primarily the " Karl Böhm singers" Brigitte Fassbaender , Dietrich Fischer-Dieskau , Gundula Janowitz , Hermann Prey and Peter Schreier - all in the Così fan tutte von Represented in 1972 - who shaped this epoch of the Salzburg Festival as song singers, plus Böhm's former Dorabella, Christa Ludwig , his dyer, Walter Berry , the Germans Anneliese Rothenberger and Fritz Wunderlich , the Slovenian Marjana Lipovšek and the Slovak Edita Gruberová , as well as the American Grace Bumbry and Jessye Norman . From 1972 the Great Festival Hall was increasingly used for song recitals, which often led to popular programming and audiences. Leontyne Price , as well as the tenors José Carreras , Nicolai Gedda and Luciano Pavarotti performed there with mixed programs .
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1956 |
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1957 |
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1958 |
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1959 |
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Old festival theater | New festival hall | ||
1960 |
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1961 |
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1962 |
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Small festival hall | Large festival hall | ||
1963 |
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1964 |
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1965 |
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1966 |
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1967 |
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1968 |
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1969 |
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1970 |
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1971 |
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1972 |
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1973 |
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1974 |
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1975 |
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1976 |
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1977 |
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1978 |
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1979 |
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1980 |
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1981 |
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1982 |
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1983 |
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1984 |
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1985 |
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1986 |
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1987 |
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1988 |
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1989 |
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1990 |
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1991 |
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Concert director Hans Landesmann
During the management of Gerard Mortiers (1992–2001), the former general secretary of the Wiener Konzerthaus , Hans Landesmann , was responsible for the concerts of the festival. He renounced the large stage of the Great Festival Hall and popular aria programs, gave the song programs again stringency and the intimate setting of the Mozarteum . He consistently integrated works of the 20th century into the recitals and initiated a generation change with the engagement of Cecilia Bartoli , Renée Fleming , Matthias Goerne , Thomas Hampson , Dmitri Hvorostovsky , Michael Schade , Christine Schäfer and Anne Sofie von Otter .
year | Small festival hall | Large festival hall | Mozarteum |
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1992 |
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1993 |
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1994 |
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1995 |
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1996 |
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1997 |
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1998 |
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1999 |
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2000 |
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2001 |
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Artistic director Peter Ruzicka
In keeping with his operatic focus, the new artistic director Peter Ruzicka also integrated banned and banned composers from the Nazi era into the programming of the recitals: Mendelssohn Bartholdy , Meyerbeer and Mahler on the one hand, Schönberg , Schreker , Korngold , Krenek , Weill , Krása , Ullmann and Eissler on the other. In 2003, Andreas Scholl , a countertenor, played a recital at the Salzburg Festival for the first time . In the Mozart year 2006 there was only one recital dedicated exclusively to works by the “Regent of the Year”.
year | Small festival hall | Large festival hall | Mozarteum |
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2002 |
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2003 |
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2004 |
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2005 |
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House for Mozart | |||
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Concert director Markus Hinterhäuser
Markus Hinterhäuser founded and realized the sub-festival “ Zeitfluss ” together with Tomas Zierhofer-Kin during Mortier's directorship (1992–2001) . Due to this project, which presented contemporary music - mainly in the Kollegienkirche - he was appointed director Jürgen Flimm as concert director (2007-2011) and, when Flimm left early, he was also director of the festival for the summer of 2011.
Hinterhäuser used - for the first time since 1991 - the Great Festival Hall for song recitals, also played in the new house for Mozart and hired a number of new song singers: the ladies Denoke , Harteros , Kožená , Netrebko , the gentlemen Beczała , Flórez , Gerhaher , Jaroussky , Kaufmann , Villazón and Volle . The central song singers of the “Hinterhäuser Years” were Matthias Goerne , who demonstrated his versatility in seven evenings, and Thomas Quasthoff , who performed three song evenings .
year | House for Mozart | Large festival hall | Mozarteum |
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2007 |
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2008 |
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2009 |
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2010 |
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2011 |
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Artistic director Alexander Pereira
Alexander Pereira (2012 to 2014) remained largely within the framework of the previous repertoire in his programming of the recital, he was responsible for the concert program together with Florian Wiegand. The main venue for the recitals was now the House for Mozart . In addition to culinary programs by popular tenors ( Carreras and Flórez ) and a tango evening by Erwin Schrott , there were compilations of the already proven forces. Elīna Garanča - already performing in operas and concerts in Salzburg since 2003 - made her Salzburg debut as a lied interpreter in 2012 and delighted the audience. Anna Prohaska made her debut in 2014 - on the occasion of the focus 100 years of the First World War - with soldier songs by 19 composers.
year | House for Mozart | Large festival hall | Mozarteum / State Theater |
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2012 |
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2013 |
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2014 |
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2015 |
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In the Salzburg State Theater:
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2016 |
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Pianists
The song accompanists at the Salzburg Festival are among the most prominent pianists of their generation and come from completely different schools and traditions.
On the one hand, the piano part in the Salzburg song recitals was performed by the classical accompanists of the “Viennese tradition” - such as Erik Werba , Jörg Demus or Helmut Deutsch . Gerald Moore and the Australian Geoffrey Parsons , as well as their students Julius Drake , Graham Johnson , Malcolm Martineau and Roger Vignoles come from the "British tradition" . The “American style” was primarily represented by Irwin Gage and Norman Shetler , the German Hubert Giesen , Hartmut Höll and Wolfram Rieger .
Bruno Walter founded the Salzburg tradition of well-known conductors and composers who accompanied singers on the piano - as a lied accompanist for Lotte Lehmann in the 1930s. This was continued by Joseph Marx , Wilhelm Furtwängler , Wolfgang Sawallisch , Aribert Reimann , James Levine , Daniel Barenboim and Ingo Metzmacher .
Also performing mainly as soloists - such as Alfred Brendel , Rudolf Buchbinder , Christoph Eschenbach , Leonard Hokanson , Elisabeth Leonskaja , Radu Lupu , Oleg Maisenberg , Maurizio Pollini , Sviatoslav Richter , András Schiff , Jean-Yves Thibaudet and Alexis Weissenberg - agreed to participate in Salzburg to appear as a companion. Finally, Benjamin Britten took over the piano part for his partner Peter Pears , Klaus Donath and Mstislaw Rostropowitsch accompanied their wives Helen Donath and Galina Vishnevskaya .
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More artists
- Choirs
- Members of the Arnold Schoenberg Choir (Langridge / Murray 1992)
- Members of the Coro della Radiotelevisione Svizzera , Lugano (Schubertiade 2014)
- Members of the ORF choir under the direction of Peter Ortner (Peter Schreier 1986)
- Vocal soloists
- Margarita Lilowa , Alt (Peter Schreier 1986)
- Orchestra, instrumental ensembles, conductors
- Members of the Camerata Academica Salzburg (Dawn Upshaw 1997)
- Diego Fasolis , conductor (Schubertiade 2014)
- The reinforced orchestra of the Dom-Musik-Verein, led by Joseph Messner (Gigli 1936)
- Modern chamber orchestra for old and new music (Banse / Petibon / Schade 2006)
- La Nuova Musica , musical direction: David Bates (Bejun Mehta 2016)
- Ensemble "Le Musiche Nove" (Cecilia Bartoli 2003)
- Munich Radio Orchestra , conducted by Gianandrea Noseda (Plácido Domingo, Maria Agresta, Ana María Martínez, Krassimira Stoyanova, Rolando Villazón 2015)
- Harp, guitar
- Xavier de Maistre , harp (Damrau 2014)
- Konrad Ragossnig , guitar (Peter Schreier 1978)
- Pepe Romero , guitar (Jessye Norman 1989)
- String instruments
- Friedrich Dolezal, violoncello (Paata Burchuladze 1990)
- Isabelle Faust , violin (Anu Komsi 2016)
- Alexander Janiczek and Timea Ivan, violin, Claudia Hofer, viola, Josef Radauer, double bass (Dawn Upshaw 1997)
- Ernst Kovacic , violin (Marjana Lipovšek 1989)
- Tim Park, violoncello (Angela Denoke 2015)
- Petersen Quartet (Christine Schäfer 2007)
- Thomas Riebl, viola (Marjana Lipovšek 1987)
- Wind instruments
- Dieter Flury , flute (Jessye Norman 1989)
- Otto Lang, clarinet (Rosl Schwaiger 1945)
- Reinhold Malzer, oboe, Claudio Alberti, bassoon (Dawn Upshaw 1997)
- Norbert Nagel, clarinet, saxophone, flute (Angela Denoke 2011, 2015)
- Lars Michael Stransky , Horn (Hermann Prey 1997)
- Jörg Widmann , clarinet (Christine Schäfer 2007)
- organ
- Martin Haselböck , organ (Peter Schreier 1985)
- Markus Fohr, organ (Dawn Upshaw 1997)
- Christian Schmitt , organ (Magdalena Kožená 2012)
- speaker
- Andrea Eckert , recitation (Olaf Bär 1999)
- Paul Hoffmann , speaker (Peter Schreier 1980)
- Uwe Kraus, speaker (Angela Denoke 2015)
- Ulrich Matthes , speaker (Matthias Goerne 2016)
- Tobias Moretti , speaker, Sylvie Rohrer , speaker (Banse / Petibon / Schade 2006)
- Light, scenic design, costumes
- Reinhard Bichsel, light (Angela Denoke 2015)
- Olivier Py , scenic design (Patricia Petibon 2009)
- Peter Sellars , director, Dunya Ramicova, costumes (Dawn Upshaw 1997)
literature
- Salzburg Festival: The great world theater - 90 years of the Salzburg Festival. Self-published, Salzburg 2010, OCLC 845844257 .
- Robert Kriechbaumer (ed.): The Salzburg Festival 1945–1960. Jung + Jung, Salzburg 2007, ISBN 978-3-902497-30-7 .
- Robert Kriechbaumer (ed.): The Salzburg Festival 1960–1989 - The Karajan era. Jung + Jung, Salzburg 2009, ISBN 978-3-902497-32-1 .
- Robert Kriechbaumer (ed.): The Salzburg Festival 1990–2001 - The Mortier / Landesmann era. Jung + Jung, Salzburg 2011, ISBN 978-3-902497-33-8 .
- Robert Kriechbaumer: Between Austria and Greater Germany. A political history of the Salzburg Festival 1933–1944. Böhlau, Vienna / Cologne / Weimar 2013, ISBN 978-3-205-78941-3 .
- Marina Auer: The Salzburg Festival in the Shadow of Politics (1933–1945). LMU publications, Munich 2003 (full text).
- Edda Fuhrich, Gisela Prossnitz (Hrsg.): The Salzburg Festival. Your story in dates, testimonies and pictures. Volume 1. 1920-1945. Residence, Salzburg 1990, ISBN 3-7017-0630-1 .
- Stephen Gallup: The History of the Salzburg Festival . Orac, Vienna 1989, ISBN 3-7015-0164-5 .
- Josef Kaut: The Salzburg Festival. Pictures of a world theater. Residence, Salzburg 1973, ISBN 3-7017-0047-8 .
- Andreas Novak : Salzburg hears Hitler breathing. The Salzburg Festival 1933–1945. DVA, Munich 2005, ISBN 3-421-05883-0 .
- Andress Müry (Ed.): Little Salzburg Festival History. Pustet, Salzburg 2002, ISBN 3-7025-0447-8 .
- Michael P. Steinberg: Origin and ideology of the Salzburg Festival 1890–1938. Pustet, Salzburg / Munich 2000, ISBN 3-7025-0410-9 .
- Harald Waitzbauer : Festive summer. The social atmosphere of the Salzburg Festival from 1920 to the present. Series of publications by the Salzburg State Press Office, Salzburg 1997.
swell
- Salzburg Festival , archive 2012
- Salzburg Festival , archive 2013
- Salzburg Festival , archive 2014
- Salzburg Festival , archive 2015
- Salzburg Festival , program of the song recitals 2016
Individual evidence
- ↑ Elina Garanca turns the concert hall into a stage. In: Die Presse , July 28, 2012. Retrieved November 1, 2012.