Orchestra of the Halle Opera House

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Opera House Halle (2003)

The orchestra of the Halle Opera House was a symphony orchestra in Halle (Saale) , which functioned primarily as a theater but also as a concert orchestra . It was founded in 1897 as a municipal theater orchestra and used the Halle Opera House as the main venue until the end . Initially known as the Wagner interpreter, the orchestra was firmly integrated into the Handel Festival in Halle from the 1920s , with General Music Director Horst-Tanu Margraf making a significant contribution to the Handel Renaissance of the 1950s. From 1967 to 1993 it was called the Handel Festival Orchestra . During Christian Kluttig's tenure, this made a meritorious contribution to historical performance practice and also set accents with contemporary productions. In 1993 a baroque ensemble of the same name emerged from the orchestra . In 2001, the world premiere production was Jest, Satire, Irony and Deeper Meaning of Detlev Glanert the Bavarian Theater Prize . Through the merger with the Philharmonic State Orchestra Halle , a pure concert orchestra, the orchestra was merged into the Staatskapelle Halle in 2006 .

history

Prehistory and early years

As early as 1872 there was a city orchestra in Halle, which was directed by Wilhelm Halle . To operate the theater , it was renamed the City and Theater Orchestra in 1886 . After Halle's death in 1892 Max Friedemann became city ​​music director. More extensive operas were performed in cooperation with the music corps of the Fusilier Regiment Field Marshal General Graf Blumenthal (Magdeburgisches) No. 36 . In order to increase the old-age and surviving dependents' pension for the orchestra musicians, the “Pension and Support Fund of the City and Theater Orchestra” was founded in 1894. Theater director Max Richards then founded an independent theater orchestra in 1897, so that the original orchestra split up.

City Theater (1905)

The Richards City Theater Orchestra expanded its theater operations and expanded its positions. Since the 1907/08 season, additional symphony concerts have taken place, which from the 1910s onwards were no longer held with the military band. During the First World War , the number of visitors declined, and some musicians were drafted into military service. Nevertheless, the operation was maintained; they played at charity concerts, at spring and spa concerts in Bad Wittekind and at zoo concerts. Theater director Leopold Sachse campaigned for orchestral musicians to be postponed and agreed with the Deputy General Command of the IV Army Corps in Magdeburg to provide temporary services for military musicians from the II Replacement Department of the Mansfeld Field Artillery Regiment No. 75 . At the turn of the century , the theater orchestra mainly performed the operas of Richard Wagner , Albert Lortzings and Giacomo Puccini . In 1910 the “Richard Wagner Festival” was held for the first time, at which the ring was staged in full. Well-known interpreters such as Katharina Fleischer-Edel , Alois Hadwiger , Ernst Kraus , Hermine Bosetti , Ellen Gulbranson , Paul Knüpfer , Paul Bender and Fritz Feinhals performed in Halle at the time. In 1913, the first Parsifal performance in central Germany took place in Halle . In the concert area, the orchestra cultivated the classical-romantic repertoire (Beethoven, Mendelssohn, Brahms, Weber), whereby the preference for the works of Richard Wagner was evident. Renowned guest conductors were also won for the theater orchestra during this period. a. Arthur Nikisch , Siegfried Wagner , Felix Mottl and Richard Strauss .

Weimar Republic

In 1919, the city council took over the city theater and ended the lease contract with the theater director, making the orchestra musicians city employees. An application supported by the USPD to rename it to the Städtisches Orchester Halle aS and the associated higher salary, retirement and pension entitlements failed due to the mayor Richard Robert Rive (DNVP). Due to the precarious budgetary situation in the city, there was a reduction in the number of musicians in the 1920s. In addition, “protests by right-wing radical circles against the design of the program and increasing anti-Semitic attacks against director Leopold Sachse [...] caused additional unrest.” In the wake of the global economic crisis , a “ Leipzig- Halle theater community” was briefly discussed, but this was then discarded in favor of maintaining the multi-party theater has been.

While representatives of classical modernism were not included in the program planning between 1910 and 1922, late romanticists were played in Halle. In addition, the rediscovered opera buffa Don Pasquale by Gaetano Donizetti and the city's most famous son, Georg Friedrich Händel , attracted attention. In the Weimar Republic , a “flattening of the repertoire” was observed, which was reflected in the increase in operetta performances . Despite a few experiments, "the musical avant-garde was banned from the repertoire of the city theater [as early as 1931]". In the symphonic field, too, the focus was on the romantic repertoire. Guest conductors such as Fritz Busch , Paul Graener , Max von Schillings and Hans Pfitzner performed . The well-known soloists Walter Gieseking , Vladimir Horowitz , Claudio Arrau and Paul Hindemith were also guests in Halle.

time of the nationalsocialism

After the seizure of power by the National Socialists none was released in the orchestra musicians at first, because neither of them Jewish had been more politically unpopular members. However, the request was made to implement the National Socialist company cell organization . The musicians of the orchestra were accepted into the German Labor Front and the orchestral musicians' council of the Reichsmusikkammer . Five orchestra members joined the NSDAP . Due to financial bottlenecks, the mayor Johannes Weidemann (NSDAP) announced that all orchestra members were resigned in the summer of 1934. This was withdrawn again, but the original contracts were not respected until the 1938/39 season. In February 1934, the first conductor Bruno Vondenhoff was awarded the title of general music director . The orchestra was also renamed the Municipal Orchestra . In 1937, 20 more members of the orchestra joined the NSDAP, so that shortly before the start of the Second World War, around two-thirds had become party members. With a few exceptions, however, none held a party office. From autumn 1941 individual orchestra members were called up for military service. In March 1943 the first orchestra musicians were classified as indispensable . During the war, the orchestra had "a cultural and political function that should not be underestimated" for the soldiers of the Wehrmacht and the urban population. a. at the “ Kraft durch Freude ” concerts. In autumn 1944 the older orchestral musicians were obliged to work in the security department at the Buna works in Schkopau and in Lönnewitz and the middle generation were drafted into the Wehrmacht . Four orchestral musicians died in World War II.

The municipal orchestra repeatedly took part in festive events during National Socialism. The modern composers of Jewish origin and defamed as “ cultural Bolsheviks ” were banned from the repertoire for good. Instead, classics by Johann Strauss and Carl Zeller first played , but also works by Robert Stolz , Nico Dostal and Eduard Künneke and increasingly by “Nazi-compliant composers “Like Hans Pfitzner, Richard Strauss , Paul Graener, Werner Egk and Max von Schillings. From the 1940s the maintenance of the international repertoire was severely restricted. German interpreters in particular appeared in the concert area after 1933 a. a. Elly Ney , Wilhelm Kempff , Walter Gieseking, Claudio Arrau and Georg Kulenkampff . Among the guest conductors were Peter Raabe and Konoe Hidemaro .

Reconstruction phase and GDR

Theater of Peace (1951)

After the occupation Halles by the Americans in April 1945, the theater staff the on-site were denazified . In May 1945 the concertmaster Johannes Versteeg and the principal bassoonist Adolf Karl took part in the “Working Committee of the City Theater”. With the takeover of the city and the issuance of an operating permit by the Soviet military administration in July 1945, provisional venues (first the Giebichenstein open-air theater, then the Thalia Theater ) were occupied. In addition, spa concerts were given again in the Bad Wittekind Kurhaus in the summer. In 1946 the August-Bebel-Haus and the Great Hall of the Saalschloßbrauerei were added as venues. The board of trustees of the State Theater of Saxony-Anhalt , founded in 1948, closed the operetta theater in 1950 for financial reasons. In 1951 the old theater building was reopened as the Theater of Peace .

Under the direction of Horst-Tanu Margraf , the orchestra then took "a great boom". In October 1951, the musicians were able to record an improvement in their salaries through the "wage and salary agreement for the theaters and cultural orchestras of the German Democratic Republic". From an artistic point of view, "the theater and the orchestra [...] served as a springboard for highly talented young artists" such as Kurt Masur and Klaus Tennstedt . From the 1950s onwards, the orchestra gained national recognition through the care of the Handel. The name "Handel Festival Orchestra" appeared for the first time in 1957. Since 1960 the orchestra has been in close contact with the Polish Filharmonia Pomorska . In 1972 the orchestra made a guest tour to the International May Festival in Wiesbaden. Before the guest performance in Linz in 1987, there was only one tour to Finland . In the 1980s, the orchestra had "with only one musician one of the lowest proportions of SED members among the cultural orchestras in the GDR," as Susanne Range explained.

In the second half of the 1940s "the symphony concerts [...] showed quite progressive tendencies". Paul Hindemith and representatives of French modernism , but also contemporary Russian composers, were played. From 1949 to 1953, however, the opera schedules, similar to the 1930s, had “a very conservative concept”. In the course of the 1950s, works by Dmitri Shostakovich were then repeatedly performed, and more contemporary German composers were to be played, for example as part of the Halle Music Days . In the 1960s, socialist realism took hold . Among the guests in Halle were u. a. Wilhelm Kempff, Stefan Askenase , Ralph Kirkpatrick , Timofei Dokschizer , Kurt Masur, Annerose Schmidt and David Oistrach . In the season 1969/70 the concert series "Musica viva" was founded, in which contemporary GDR composers were presented. In addition, modern GDR musicals were played from the late 1960s. After the Great State Entertainment Orchestra was taken over into the State Theater in 1972 , operetta and musical services could henceforth be outsourced; In 1990 both orchestras merged. In the 1970s, contemporary Western composers were also incorporated into the program. The new Handel opera productions by Peter Konwitschny met with great approval in the 1980s .

After reunification

After the fall of the Wall there were not only numerous opera productions but also productions with children and young people. In the symphonic field, both the classical-romantic and the modern repertoire were cultivated. From the 1992/93 season on, the number of visitors increased noticeably. From 1993, Italian operas were increasingly played. The orchestra then performed at the Kasseler Musiktage with Wolf-Ferrari's oratorio La vita nuova . Further guest performances followed at the Kissinger Sommer and in the Cologne Philharmonic . In 1997 the orchestra organized a "Classic Open Air" on Berlin's Gendarmenmarkt . The opera production Joke, Satire, Irony and Deeper Meaning by Detlev Glanert was awarded the Bavarian Theater Prize in 2001. After the orchestra merged with the Philharmonic State Orchestra Halle in 2006 , Opera General Music Director Klaus Weise took over the leadership of the Staatskapelle Halle .

Handel care

From 1922 the orchestra was involved in the Handel Festival in Halle . After 1933, Handel was also instrumentalized politically. In the 1950s, the orchestra played a key role in the Handel renaissance in Halle. According to Susanne Range, it gained "supra-regional and later international importance". The intended renaming of the orchestra as the Georg Friedrich Handel Orchestra was, however, initially rejected by the municipal music officer in 1957. From the 1967/68 season the name Handel Festival Orchestra established itself . From the 1980s, historical performance practice prevailed under Christian Kluttig . By 1998 the orchestra was involved in 55 Handel opera productions, which is unique in the world.

For the music critic Thomas Koebner (1964), General Music Director Horst-Tanu Margraf interpreted the baroque composer as "glowing and intoxicating". The ensemble was characterized by a "rich, swelling string sound" that reminded him of Giuseppe Verdi and Richard Wagner . Above all, he emphasized the “sensuality of the cantilena , pulsating fluctuations in tempo, melting nonlegato string technique”.

After years of abstinence from West Germany, the Handel Festival Orchestra performed in 1989 with Handel's Rinaldo at the Kissinger Sommer . The music critic Wolf-Eberhard von Lewinski identified a “Handel sound” in the ensemble playing on modern instruments, which was “relaxed, tense inside, delicate sound and spirited”. In particular, he paid tribute to “the subtle strings led by Manfred Otte , excellent young woodwinds, a hard-working harpsichordist who improvised”. For him, Christian Kluttig was "a sovereignly controlling and unpretentiously creative conductor".

The ensemble presented complete operatic recordings of Handel's Poro (1958), Radamisto (1962) and Imeneo (1966).

Chief Conductors and General Music Directors

Thomas Sanderling, chief conductor from 1966 to 1976

Since it was founded as a municipal theater orchestra in 1897:

World premieres (selection)

Ensembles

  • With the Hallescher Bläser-Vereinigung a wind quintet can be proven for the city theater orchestra in the 1920s
  • At the theater worked u. a. the following string : the string quartet of the Municipal Orchestra Hall (1938-1943) and Ludwig Schuster Quartet , with the latter to the performance of contemporary music had merit
  • In 1959 the chamber orchestra collegium instrumentale was founded, which was largely shaped by Manfred Otte ; it was primarily dedicated to baroque music , but also to music of the 20th century, and made several guest appearances in western countries
  • In 1993 the Handel Festival Orchestra was established within the orchestra of the Halle Opera House , which was to make a name for itself under Howard Arman

Awards

Complete opera recordings

literature

  • Frank Kämper: Engaged in opera and concert halls. The Handel Festival Orchestra Halle . In: Musik und Gesellschaft 39 (1989) 7, pp. 367-370.
  • Peter Korfmacher: Founded 100 years ago: Orchestra of the Opera House in the Saalestadt Halle. Wagner and Handel care remained loyal to this day . In: Leipziger Volkszeitung , September 18, 1997, p. 8.
  • Konstanze Musketa : Music history of the city of Halle: Guide through the exhibition of the Handel House . Handel House, Halle an der Saale 1998, ISBN 3-910019-13-7 , p. 86.
  • Susanne Range (Red.): Soundtracks. 100 years of the Halle Opera House orchestra 1897–1997 . Edited by the Halle Opera House, Halle / Saale 1997.
  • Susanne Range: Halle: 100 Years of the Opera House Orchestra . In: das Orchester 12/1998, p. 31.

Web links

Individual evidence

  1. ↑ a b c d e f Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 4-13.
  2. ↑ a b c d e f g h i j k Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 14-23.
  3. ↑ a b c d e f g h Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 24–31.
  4. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 25.
  5. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 26.
  6. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 27.
  7. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 29.
  8. ↑ a b c d e f g h i j k l m n o p q r s Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 32-40.
  9. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 35.
  10. ↑ a b Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 39.
  11. ↑ a b c d e f Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 41-43.
  12. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 41.
  13. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 44.
  14. ↑ a b c Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 45.
  15. ↑ a b c d e f g h i j k l Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 44-62.
  16. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 51.
  17. ↑ a b Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 55.
  18. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 59.
  19. ↑ a b c d e f g h Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 68-76.
  20. ↑ a b c d e f Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, pp. 63-67.
  21. ↑ a b Susanne Range: Halle: 100 Years of the Opera House Orchestra . In: das Orchester 12/1998, p. 31.
  22. ^ A b c Thomas Koebner : Doing business with Handel. The festival in honor of the great son of the city of Halle . In: Die Zeit 28/1964, July 10, 1964.
  23. ↑ a b c d Wolf-Eberhard von Lewinski : Handel from Halle. Kissingen in summer - the start of the festival . In: Süddeutsche Zeitung , July 7, 1989, p. 12.
  24. ^ Karsten Steiger: Opera discography: directory of all audio and video recordings . 2nd, fully updated and expanded edition, Saur, Munich 2008, ISBN 978-3-598-11784-8 , p. 191.
  25. ^ Karsten Steiger: Opera discography: directory of all audio and video recordings . 2nd, fully updated and expanded edition, Saur, Munich 2008, ISBN 978-3-598-11784-8 , p. 188.
  26. ^ Karsten Steiger: Opera discography: directory of all audio and video recordings . 2nd, fully updated and expanded edition, Saur, Munich 2008, ISBN 978-3-598-11784-8 , p. 194.
  27. ↑ Tittel, Bernhard . In: Wilhelm Kosch : German Theater Lexicon . Biographical and bibliographical manual . Volume 4: Singer - Tzschoppe . De Gruyter, Berlin 1998, ISBN 3-907820-30-4 , p. 2606.
  28. ↑ Chris Walton : Othmar Schoeck. A biography . Atlantis Musikbuch-Verlag, Zurich a. a. 1994, ISBN 3-254-00168-0 , p. 335.
  29. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 28.
  30. ^ Erik Levi: Opera in the Nazi period . In: John London (ed.): Theater under the Nazis . Manchester University Press, Manchester u. a. 2000, ISBN 0-7190-5912-7 , pp. 136-180, here: 178.
  31. ^ Susanne Baselt: Chronicle of the Philharmonic State Orchestra Halle . Part I: 1946 to 1964 . Edited by the management of the Philharmonic State Orchestra Halle, Halle (Saale) 1999, p. 38f.
  32. ↑ Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Col. 832.
  33. ^ A b Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 283.
  34. ↑ a b Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 60.
  35. ^ Wilhelm Buschkötter, Hansjürgen Schaefer : Handbook of international concert literature. Instrumental and vocal music = Manual of international concert literature . 2nd, revised and expanded edition, de Gruyter, Berlin a. a. 1996, ISBN 3-11-013905-7 , p. 746.
  36. ↑ Volker Rohde directs the Handel Festival Orchestra . In: Neues Deutschland , April 6, 1976, vol. 31, issue 83, p. 4.
  37. ^ Wera Wohlgemuth: From dealing with Handel's music. Impressions from the 28th Festival in Halle . In: Berliner Zeitung , June 12, 1979, vol. 35, issue 136, p. 6.
  38. ↑ Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 239.
  39. ^ Wilhelm Buschkötter, Hansjürgen Schaefer : Handbook of international concert literature. Instrumental and vocal music = Manual of international concert literature . 2nd, revised and expanded edition, de Gruyter, Berlin a. a. 1996, ISBN 3-11-013905-7 , p. 247; Gilbert Stöck: New music in the districts of Halle and Magdeburg during the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 269 / fn. 496.
  40. ↑ Mantred Meier: Luck for experimentation and imagination in action for new music. Encounter with Union friend Bettina Otto, harpsichordist and pianist . In: Neue Zeit , April 6, 1985, vol. 41, issue 81, p. 10.
  41. ↑ Eberhard Kneipel: Siegfried Thiele. Portrayed for you . Deutscher Verlag für Musik, Leipzig 1990, ISBN 3-370-00315-5 , pp. 51, 89.
  42. ↑ Nina Noeske: The best of all possible worlds: Bredemeyers Candide (1981/82). In: Michael Berg, Albrecht von Massow, Nina Noeske: Between power and freedom. New music in the GDR . Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 141–156, on p. 142.
  43. ↑ W. Eoeckh: concert premiere on Halle Theater . In: Mitteldeutsche Zeitung , April 14, 1990, p. 6.
  44. ^ Wolfgang Boeckh: Music from Halle and Karlsruhe. Workshop concert during the XX. Halle Music Days . In: Mitteldeutsche Zeitung , October 25, 1990, p. 9.
  45. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 73.
  46. ↑ Angels and floating sounds. The orchestra of the Halle Opera House presented contemporary composers . In: Mitteldeutsche Zeitung , January 26, 1995, p. 23.
  47. ↑ Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 184.
  48. ^ "Eduard on the rope" by Wilfried Hiller in Halle (WP) . In: das Orchester 3/2000, p. 27.
  49. ↑ Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 433.
  50. ↑ Alison Latham (Ed.): Sing, Ariel: Essays and Thoughts for Alexander Goehr's Seventieth Birthday . Ashgate, Aldershot 2003, ISBN 0-7546-3497-3 , p. 344.
  51. ↑ Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 142.
  52. ↑ Peter Korfmacher: Steffen Schleiermacher's crazy “GassenHauer mit NebelHorn” for theremin and orchestra premiered in Halle under Roger Epple . In: Leipziger Volkszeitung , April 25, 2002, p. 25.
  53. ↑ Swantje Gostomzyk: literary opera in the late 20th century. An interdisciplinary study using the example of the operas by Detlev Glanert (= Perspectives of Opera Research . Vol. 17). Lang, Frankfurt am Main a. a. 2009, ISBN 978-3-631-58102-5 , p. 182.
  54. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 31.
  55. ^ Jürgen Stegmüller: The string quartet. An international documentation on the history of string quartet ensembles and string quartet compositions from the beginning to the present (= source catalogs for music history . Volume 40). Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0780-8 , p. 225.
  56. ^ Konstanze Musketa : Music history of the city of Halle. Guide to the exhibition in the Handel House . Handel House, Halle an der Saale 1998, ISBN 3-910019-13-7 , p. 86.
  57. ↑ Susanne Range (Red.): Klangspuren. 100 years of the Halle Opera House orchestra 1897–1997 . Halle / Saale 1997, p. 46.
  58. ↑ Christoph Rink: Chronology of the Handel price . In: Announcements of the Friends and Sponsors of the Handel House in Halle eV 1/2012, pp. 20–25, here: p. 23.
  59. ^ Karsten Steiger: Opera discography: directory of all audio and video recordings . 2nd, fully updated and expanded edition, Saur, Munich 2008, ISBN 978-3-598-11784-8 , p. 36.
  60. ^ Karsten Steiger: Opera discography: directory of all audio and video recordings . 2nd, fully updated and expanded edition, Saur, Munich 2008, ISBN 978-3-598-11784-8 , p. 596.