Opera line-ups at the Salzburg Festival 1938 to 1944
The opera ensembles of the Salzburg Festival from 1938 to 1944 include all operas of the Salzburg Festival during the reign of the Nazis in Austria. While the Nazi regime tried in 1938 and 1939 to build on the highly successful period of Arturo Toscanini and Bruno Walters , there were no operas in 1940 due to the war and only modest war festivals for soldiers from 1941 to 1943. In 1944, the premiere of Liebe der Danae by Joseph Gregor and Richard Strauss was not allowed to take place on orders from Berlin; there was only a public rehearsal.
The most important conductors of these years were Karl Böhm , Wilhelm Furtwängler , Hans Knappertsbusch and Tullio Serafin and, from 1942, again Clemens Krauss , who had been appointed director of the festival in September 1941.
concept
The Salzburg Festival was hated by both the illegal National Socialists in Austria and the Nazi regime in Germany on several levels: as a culmination point of Austrian identity , as a message of humanism and peace , as a cosmopolitan and international event that made the German Festival in Bayreuth clearly dwarfed. Salzburg had Reinhardt , Toscanini , Lotte Lehmann as opera hero and Marlene Dietrich as festival guest , stars with whom the so-called Third Reich would have liked to adorn itself .
The Nazis were not squeamish in their means, not only using propaganda means of defamation or ignoring, but also invented the thousand-mark barrier to damage Austrian tourism, imposed performance bans for German artists, dropped flyers with airplanes and deposited them in the castle Leopoldskron , the residence of Max Reinhardt , even a bomb. Alternately, they defamed the festival as a “Jewish witch's sabbath” or “Bolshevik” or both. Long-term target of anti-Semitic agitation by the Nazis was Max Reinhardt, who in 1933 dared to reject the title of honorary arian and steadfastly refused to integrate into the Nazi cultural scene. The singer and Nazi collaborator Wilhelm Rode canceled his participation in Fidelio in 1933 only two days before the performance for “political reasons”, probably to endanger the performance. In 1935, the National Socialists tried to bribe British and American journalists to launch "Article about a Salzburg in which it was" teeming with pederasts "in their media.
When the National Socialists took control of Salzburg after the annexation of Austria , they didn't really know what to do with the festival. They just knew what they didn't want. The central opponents were already gone: Hofmannsthal had died, Reinhardt had already gone to America in 1937 and Toscanini had again canceled - immediately after Hitler came to power in Austria. The conductor Bruno Walter , the directors Herbert Graf and Lothar Wallerstein , Lehmann and other Jewish artists or artists who were critical of the Nazi regime saw themselves forced to emigrate. But the National Socialists also continued their work of destroying culture in Salzburg: Leopoldskron Palace was expropriated, on April 30th a book burn took place on Residenzplatz, the Anton Faistauer foyer to the Festspielhaus was destroyed, Jedermann was deposed, the city of Faust in the Felsenreitschule dismantled and the defamatory exhibition Degenerate Art sent to Salzburg. The festival president Heinrich Puthon was removed from his office, but hardly anything changes in the opera program. Instead of Josef Krips , Arturo Toscanini, Bruno Walter and Felix Weingartner , the system-compliant musicians Karl Böhm , Hans Knappertsbusch , Clemens Krauss and Wilhelm Furtwängler now conducted . Vittorio Gui and Tullio Serafin were brought from Fascist Italy .
The Nazi cultural policy was riddled with contradictions, which were particularly vivid in Salzburg: Reinhardt was first courted, then the Nazis destroyed his Salzburg work (and tried to copy it at the same time: instead of the Faust city, an Egmont city was built ). Hofmannsthal's Jedermann was banned because the Catholic author had Jewish ancestors, but his operas continued to be played because they were set to music by fellow traveler Richard Strauss , the President of the Reich Chamber of Music from 1933 to 1935. The directors Herbert Graf and Lothar Wallerstein had to be Jews emigrate, their productions were continued. The tactic of camouflaging and deception came to light here as well: the names Hofmannsthal, Graf and Wallerstein disappeared from the program slips, and Erich von Wymetal , a fellow traveler, was given as the game master .
In the opera sector, the Nazi cultural policy was limited to symbolism: the festival theater was adapted to Nazi taste by “Reich stage designer” Benno von Arent . He replaced the wooden paneling with a plastered ceiling decorated with gold, added an imperial eagle, swastika and bust of the Führer, and even created his own Führer Lodge, which was only used once, of course, when Don Giovanni was presented in 1939. Hitler was still connected to Bayreuth, withdrew Salzburg's right to play Wagner operas from 1939, and demoted the festival to the Salzburg summer of music and theater from 1943 . For Hitler there were only festivals in Bayreuth. The program of the first two Nazi years was characterized by a high degree of continuity to the successful Toscanini / Walter years, but the festival had to do without all Jewish singing stars. However, Salzburg was once again lucky in the misfortune, as the exceptional talents Maria Cebotari , Anton Dermota and Helge Rosvaenge were among the cast . And, presumably with the help of Mussolini, in 1938 and 1939 almost the entire Falstaff singers ensemble of Toscanini's new production could be signed up to Salzburg again.
In 1940, another contradiction, the Salzburg Festival was canceled due to the war, while the Bayreuth Festival was held. After that, the level of singers sank, provinciality spread, and the international audience stayed away. Only two projects in the following years are worth mentioning: In 1942 , a new production of Figaro by Walter Felsenstein , which heralded a new Mozart style that the Vienna and Salzburg Mozart ensemble would implement after the end of the Nazi regime - psychologically well thought-out tour of the people , slim and rather tart in style, without the usual sweets and classic kitsch. And in 1944 the attempt to premiere a new opera by Richard Strauss , who after Hofmannsthal's death did not write a single work that could establish itself in the repertoire. The love of Danae is of course relevant as a work of art of the failure of a great composer and symptomatic of the escapism of the devastating Nazi years, which were dominated by the escape into waltz bliss, crude comedies and ancient material. Also remarkable is the admission of the composer, who turned to the much-loved Vienna Philharmonic at the end of the dress rehearsal - with the sentence: "Maybe we'll see each other again in a better world."
1938
Line-up change in the following performances:
- The Mastersingers of Nuremberg . Hans Sachs: Karl Kamann (from August 10th), Stolzing: August Seider (August 19th)
- The Rosenkavalier . Faninal: Viktor Madin (22nd), Sophie: Maria Cebotari (22nd), Annina: Olga Levko-Antosch (12th and 22nd), steward at the Marschallin: Viktor Maiwald (22nd), police commissioner: Karl Ettl (22nd) .), Singer: Emmerich von Godin (2nd and 12th)
- Tannhauser . Elisabeth: Hilde Konetzni (16th and 26th)
- Fidelio . Leonore: Gertrud Rünger (8th), Don Pizarro: Fritz Krenn (31st)
1939
Line-up change in the following performances:
- The Rosenkavalier . Field Marshal: Elisabeth Rethberg (24th), notary: Karl Ettl (15th and 24th), singer: Emmerich von Godin (24th and 29th),
- The Freischütz . Kuno: Karl Ettl (30.), Agathe: Hilde Konetzni (30.), Kaspar: Herbert Alsen (30.), Hermit: Carl Bissuti (30.)
- The Abduction from the Seraglio . Belmonte: Anton Dermota (14th)
- Don Giovanni . Donna Anna: Felicie Hüni-Mihacsek (27.)
1940
Due to the Second World War , the Salzburg Festival in 1940 was canceled at the behest of Berlin, but not the Bayreuth Festival , at which Winifred Wagner scheduled two ring cycles and four performances of the Flying Dutchman . Hitler visited the Bayreuth Festival one last time.
On their own initiative, the Vienna Philharmonic started a concert cycle in Salzburg and thus saved the continuity of the festival. There were nine orchestral concerts and two serenades, in which the Philharmonic Wind Association participated. It was conducted by Karl Böhm , Wilhelm Furtwängler , Hans Knappertsbusch and - a novelty for Salzburg - Franz Lehár . Soloists were the violinist Wolfgang Schneiderhan , the pianist Emil von Sauer and the singers Esther Réthy , Gertrud Rünger and Marcel Wittrisch . In addition to classical concert pieces by Mozart , Beethoven , Brahms , Bruckner and Tchaikovsky , the program created a strong reference to music theater . The regular program began with Beethoven's Third Leonore Overture and ended with Wagner's Tannhauser Overture . A total of eight overtures and preludes were scheduled, almost as a virtual replacement for the unusual opera and drama performances. Three concerts were dedicated to the Viennese waltz and the operetta , escapism in musical form, including the concert conducted by Lehár. A second focus was the works of Wagner and included Isolde's Liebestod as well as Siegfried's death and funeral music from Götterdämmerung , premonition of the terrible end, embedded between Beethoven and Brahms.
1941
| Orchestra, choir, conductor | Director, equipment | singers | Singer | |||||
|---|---|---|---|---|---|---|---|---|
| The Magic Flute , text book by Emanuel Schikaneder , music by Wolfgang Amadeus Mozart , Festspielhaus, August 2 to 19, 1941 (four performances) | ||||||||
|
Vienna Philharmonic Vienna State Opera Choir Karl Böhm |
Heinz Arnold Ludwig Sievert |
Lea Piltti Queen of the Night Maria Reining Pamina Hilde Konetzni 1st lady Dora With 2nd lady Elena Nicolaidi 2nd lady Dora Komarek Papagena Erika Pirschl 1st boy Elfride Trötschel 2nd boy Anny Schneller 3rd boy |
Ludwig Weber Sarastro Peter Anders Tamino Kurt Böhme Speaker Alfred Poell Papageno Karl Wessely Monostatos William Wernigk Priest Wilhelm Franter 1st armored Franz Normann 2nd armored |
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| The Rosenkavalier by Hugo von Hofmannsthal and Richard Strauss , Festspielhaus, August 4 to 21, 1941 (four performances) | ||||||||
|
Vienna Philharmonic Vienna State Opera Choir Hans Knappertsbusch |
Erich von Wymetal Alfred Roller |
Anny Konetzni Field Marshal Martha Rohs Octavian Elisabeth Rutgers Sophie Aenne Michalsky Head butcher Olga Levko-Antosch Annina |
Fritz Krenn Baron Ochs Hermann Wiedemann Faninal Hermann Gallos Valzacchi Hermann Baier Steward to Marshal Wilhelm Franter Steward to Faninal Karl Ettl Police Commissioner Alfred Muzzarelli Notary Anton Dermota Singer William Wernigk Wirt |
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| The Marriage of Figaro by Lorenzo Da Ponte and Wolfgang Amadeus Mozart , Festspielhaus, August 6 to 24, 1941 (four performances) | ||||||||
|
Vienna Philharmonic Vienna State Opera Choir Karl Böhm |
Rudolf Zindler Alfred Roller |
Margarete Teschemacher Countess Almaviva Elfriede Weidlich Susanna Dora With Marcellina Martha Rohs Cherubino Elfride Trötschel Barbarina |
Mathieu Ahlersmeyer Count Almaviva Paul Schöffler Figaro Karl Wessely Basilio Kurt Böhme Bartolo Franz Normann Antonio Hermann Gallos Don Curzio |
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| Don Juan by Lorenzo Da Ponte and Wolfgang Amadeus Mozart , Festspielhaus, August 8-22, 1941 (four performances) | ||||||||
|
Vienna Philharmonic Vienna State Opera Choir Hans Knappertsbusch |
Wolf Peoples Robert Kautsky |
Helena Braun Donna Anna Hilde Konetzni Donna Elvira Dora Komarek Zerlina |
Paul Schöffler Don Juan Fritz Krenn Leporello Herbert Alsen The Commander Anton Dermota Don Ottavio Erich Kunz Masetto |
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Line-up change in the following performances:
- The magic flute . Tamino: Anton Dermota (14th and 19th)
- The Rosenkavalier . Faninal: Viktor Madin (10th and 15th), Sophie: Esther Réthy (15th and 21st), singer: Karl Friedrich (10th and 15th)
- Don Juan . Zerlina: Elisabeth Rutgers (18th and 22nd)
1942
| Orchestra, choir, conductor | Director, stage, costumes | singers | Singer | |||||
|---|---|---|---|---|---|---|---|---|
| The Marriage of Figaro by Lorenzo Da Ponte and Wolfgang Amadeus Mozart , Festspielhaus, August 5 to 30, 1942 (six performances) | ||||||||
|
Vienna Philharmonic, Vienna State Opera Choir Clemens Krauss |
Walter Felsenstein Stefan Hlawa Stefan Hlawa |
Helena Braun Countess Almaviva Irma Beilke Susanna Res Fischer Marcellina Gerda summer shoe Cherubino Liane Timm Barbarina |
Hans Hotter Count Almaviva Erich Kunz Figaro Josef Witt Basilio Gustav Neidlinger Bartolo Franz Normann Antonio William Wernigk Don Curzio |
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| Arabella by Hugo von Hofmannsthal and Richard Strauss , Festspielhaus, August 9-28, 1942 (six performances) | ||||||||
|
Vienna Philharmonic, Vienna State Opera Choir Clemens Krauss |
Rudolf Hartmann Robert Kautsky Erni Kniepert |
Luise Willer Adelaide Viorica Ursuleac Arabella Trude Eipperle Zdenka Else Böttcher Fiakermilli Ruth Michaelis card server |
Theo Herrmann Count Waldner Hans Reinmar Mandryka Horst Taubmann Matteo Franz Klarwein Count Elemer Odo Ruepp Count Dominik Alfred Poell Count Lamoral William Wernigk Welko |
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1943
| Orchestra, choir, conductor | Director, stage, costumes | singers | Singer | |||||
|---|---|---|---|---|---|---|---|---|
| Die Zauberflöte , text book by Emanuel Schikaneder , music by Wolfgang Amadeus Mozart , Festspielhaus, August 4 to 29, 1943 (six performances) | ||||||||
|
Vienna Philharmonic, Vienna State Opera Choir Clemens Krauss |
Clemens Krauss Stefan Hlawa Erni Kniepert |
Hildegard Kapferer Queen of the Night Irma Beilke Pamina Maud Cunitz 1st lady Coba Wackers 2nd lady Maria Cornelius 3rd lady Gusti Huber Papagena Käthe Nentwig 1st boy Gertrud Friedrich 2nd boy Anny Schneller 3rd boy |
Georg Hann Sarastro Julius Patzak Tamino Hans Hotter Speaker Paul Hörbiger Papageno Josef Witt Monostatos Horst Taubmann Priest Karl Ostertag 1st armored Theo Herrmann 2nd armored |
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| Arabella by Hugo von Hofmannsthal and Richard Strauss , Festspielhaus, August 8-27, 1943 (six performances) | ||||||||
|
Vienna Philharmonic, Vienna State Opera Choir Clemens Krauss |
Rudolf Hartmann Robert Kautsky Erni Kniepert |
Luise Willer Adelaide Viorica Ursuleac Arabella Maud Cunitz Zdenka Irma Handler Fiakermilli Ruth Michaelis card server |
Theo Herrmann Count Waldner Hans Reinmar Mandryka Horst Taubmann Matteo Franz Klarwein Count Elemer Josef Witt Count Dominik Alfred Poell Count Lamoral Franz Szkokan Welko |
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1944
| Orchestra, choir, conductor | Director, stage, costumes | singers | Singer | |||||
|---|---|---|---|---|---|---|---|---|
| Die Liebe der Danae by Joseph Gregor and Richard Strauss , Festspielhaus, August 16, 1944 (public rehearsal) | ||||||||
|
Vienna Philharmonic, Vienna State Opera Choir Clemens Krauss |
Rudolf Hartmann Emil Preetorius Emil Preetorius , Erni Kniepert |
Viorica Ursuleac Danae Irma Handler Xanthe Maud Cunitz Semele Stefania Fratnikova Europe Maria Cornelius Alkmene Anka Jelacic Leda |
Horst Taubmann Midas Hans Hotter Jupiter Franz Klarwein Merkur Karl Ostertag Pollux Walter Carnuth 1st King Joszi Trojan-Regar 2nd King Theo Reuter 3rd King Georg Wieter 4th King |
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source
- Josef Kaut : The Salzburg Festival 1920-1981, With a list of the works listed and the artists of the theater and music by Hans Jaklitsch . Residenz Verlag, Salzburg 1982, ISBN 3-7017-0308-6 , pp. 244–249.
- Czernin Verlag : Im Schatten der Mozartkugel , travel guide through the brown topography of Salzburg, Chapter 8. Festspielhaus, Schloss Leopoldskron: War of Culture (s), accessed on December 12, 2016
Individual evidence
- ↑ In the summer of 1933 Goebbels tried to integrate Max Reinhardt into the Nazi cultural scene as an honorary Aryan , but received a clear refusal. See: Dieter E. Zimmer : Max Reinhardts Nachlaß , Die Zeit (Hamburg), July 15, 1994, accessed on December 12, 2016. Immediately after Hitler came to power, the anti-fascist Toscanini canceled his further participation in the Bayreuth Festival . Lotte Lehmann did not bow to Hermann Göring's demand in 1933 to join the Nazi art scene as a world-famous singer. As a result, her appearances were made impossible while in National Socialist Germany. Goebbels wanted to bring Dietrich back to Germany, but in vain.
- ↑ There is evidence of Goebbels' prohibition for Wilhelm Furtwängler and Richard Strauss from May 1934, which both conductors followed immediately. However, they officially apologized with "overwork" or "illness". See Stephen Gallup: The History of the Salzburg Festival. Orac, Vienna 1989, ISBN 978-3-7015-0164-9 , p. 125.
- ↑ Angelika Hager : Salzburg Festival: shaped by Jews, abused by Goebbels , Profil (Vienna), July 27, 2013, accessed on December 12, 2016.
- ^ Josef Kaut: Die Salzburger Festspiele 1920-1981 , With a list of the listed works and the artists of the theater and music by Hans Jaklitsch, Salzburg: Residenz Verlag, ISBN 3-7017-0308-6 , p. 290f.
1922–1926 founding phase •
1927–1930 Schalk / Walter / Krauss •
1931–1934 Krauss / Walter •
1935–1937 Toscanini / Walter
1938–1944 Nazi regime •
1945–1947 post-war years •
1948–1954 Furtwängler / Krips / Böhm
1990–1992 Interregnum •
1992–1995 Mortier I •
1996–2000 Mortier II
2012–2014 Pereira •
2015–2016 Bechtolf •
from 2017 rear buildings
Overview
lists : Opera chronology of the Salzburg Festival •
Opera productions of the Salzburg Festival