Rolf Reuter

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Rolf Friedrich Reuter (born October 7, 1926 in Leipzig , † September 10, 2007 in Berlin ) was a German conductor and university professor who was also active in composing and pianism at the beginning of his career . He initially worked at the opera houses in Eisenach (1951–1955), Meiningen (1955–1961), Leipzig (1961–1979) and Weimar (1979–1981). He had the peak of his musical career from 1981 as general music director at the Komische Oper Berlin , of which he became an honorary member in 1993. He set further accents in the 1970s and 1980s as a guest conductor at the Deutsche Staatsoper Berlin .

Reuter cultivated a broad repertoire from baroque to new music, with a particular liking for the romantic genre ( Wagner , Pfitzner , etc. ). In addition, he made a meritorious contribution as a Mozart interpreter and made outstanding contributions to the performance of contemporary musical works, for example he premiered the operas Guayana Johnny by Alan Bush and Judith by Siegfried Matthus , and he also supported the music of his father Fritz Reuter a.

Shortly before his death , the Federal Cross of Merit came under public criticism for compromising lecturing activities .

Life

Saxon origins and studies

Rolf Friedrich Reuter was born in 1926 as the son of the musicologist, music educator, composer and conductor Fritz Reuter (1896–1963) and the singer Erna Sophie, b. Votteler (1896–1968), born in Leipzig. He came from "a liberal, cosmopolitan family". He received his first music lessons from his parents; At the time, his father taught at the State Conservatory , the Church Music Institute and the University of Leipzig .

The family moved to Dresden at the end of the 1930s for professional reasons. There Reuter attended the humanistic Kreuzgymnasium , where the future opera singer Theo Adam was one of his classmates. At times he was a member of the Dresden Kreuzchor under the direction of the Kreuzkantor Rudolf Mauersberger . From the age of thirteen he received lessons from the Dresden clarinet virtuoso Karl Schütte . He also played the piano and devoted himself to jazz . In Dresden he founded an amateur ensemble.

After the Second World War he made up his Abitur . From 1948 to 1951, on the advice of his teachers, he completed a music degree with a major in conducting at the State Academy for Music and Theater there. In addition to Ernst Hintze (conducting), his teachers included a. a. Fidelio F. Finke (composition) and Herbert Viecenz (counterpoint / composition), Karl Schütte (clarinet), Theo Other (piano) and Herbert Winkler (vocals). From 1949 to 1951, the expression dancer and dance teacher Gret Palucca won him over as a pianistic improviser for the state college for artistic dance in Dresden, which enabled him to finance his studies. According to his own account, as a former Crucian, he was more interested in chamber music during his student days , but turned more and more to conducting opera in the course of his later conductor engagements.

Professional beginnings in Thuringia

State Theater Eisenach (1953)

After passing his state examination in 1951, he began his artistic career as a solo coach with conducting duties at the State Theater Eisenach in Thuringia . He represented the choir conductor, composed fairy tale and stage music such as Was ihr wollt and Der unruly Taming and studied the solo parts. In a "resigned phase", as he later revealed, however, he resigned and unceremoniously enrolled for a university medical degree . He certainly felt his obligation as an operetta conductor was too one-sided. The musical director Horst Förster , who promoted him as well as the then director Karl Köther , persuaded him to have one last opera performance. He made his debut in 1952 as musical director of the Bizet opera Carmen . With this performance he was so convincing that he should remain loyal to the music business. From 1953 to 1955 he was the second conductor for opera and operetta .

He then became the first conductor for opera and operetta at the Meininger Theater . After the premiere of Verdi's Falstaff , he was promoted to musical chief. In 1961 he was appointed general music director . According to his own statements, he laid a foundation for his later tasks in both Eisenach and Meiningen. On the one hand he cultivated the classical-romantic repertoire ( Albert Lortzing , Richard Wagner , Giuseppe Verdi and Richard Strauss and others), on the other hand he had contemporary works by Paul Dessau , Jean Kurt Forest and Erzsébet Szőnyi performed . In 1958 he gave the world premiere of his father's Symphony No. 3 in A major. He also sponsored youth concerts and worked with amateur choirs . In addition, Reuter integrated the nearby Steinbach-Langenbach open-air theater as a venue. In retrospect, in his Thuringian years he was able to “concentrate absolutely on the artistic work” without any travel commitments or indulgent representation. However, there was "an irritating provincial self-sufficiency and a provincial looking down on big theater," said Reuter. Nevertheless, he considered the existence of small orchestras in the GDR to be a sign of "a broad musical culture" and "something that grew organically from national tradition".

Reuter joined the Free German Trade Union Confederation (FDGB) until 1956 .

General Music Director in Leipzig

Gewandhauskapellmeister Franz Konwitschny , a student of his father, then brought him to Leipzig. First, in November 1961, he received an invitation to perform the Strauss opera Der Rosenkavalier , which, like Salome and Arabella, was already part of his stage repertoire in Meiningen. Afterwards he received an engagement as Kapellmeister and deputy general music director at the Städtisches Theater ( Opera House ) Leipzig. In 1963 he succeeded the late general music director Helmut Seydelmann . Thus from 1964 to 1973 he was one of two general music directors alongside the reactivated Paul Schmitz . In Leipzig, Reuter emerged as a conductor of Italian operas, but also interpreted works by Gustav Mahler and Anton Bruckner . Although contemporary operas received little attention at the time for repertoire reasons, in 1966 he was responsible for the world premiere of the opera Guayana Johnny by the English composer Alan Bush , corresponding member of the German Academy of the Arts in Berlin, with the Gewandhaus Orchestra . Fritz Bennewitz took on the guest production . Prominent guests came from England such as the Secretary General of the Communist Party of Great Britain , John Gollan , and the President of the Royal Academy of Music , Sir Thomas Armstrong . Reuter also promoted young singers such as the Bulgarian soprano Anna Tomowa-Sintow . He later emphasized that, with the exception of the ensemble's guest performances, he had not fulfilled any obligations abroad for 15 years, which had left "traces in the artistic-psychological" on him.

From 1965 he was responsible for orchestral direction and conducting training at the "Felix Mendelssohn Bartholdy" University of Music in Leipzig . During his tenure there were twelve orchestral engagements for school children per year. In addition, the university orchestra was involved in four subscription concerts, which were held together with the Gewandhausorchester and the Leipzig Radio Symphony Orchestra . In Leipzig he worked at the university orchestra a. a. at the International Bach Festival . In 1976 he received a professorship.

In 1968 he unsuccessfully campaigned alongside other Leipzig personalities against the demolition of the medieval Leipzig University Church of St. Pauli . In 1977 he was one of the candidates for the successor to the outgoing chief conductor of the Leipzig Radio Symphony Orchestra , Herbert Kegel, alongside Thomas Sanderling and Wolf-Dieter Hauschild , who got the job . Another career in Saxony was denied to him because of the strong artistic personalities Kurt Masur (Gewandhausorchester Leipzig) and Herbert Blomstedt (Sächsische Staatskapelle Dresden), so that Weimar was to become his “springboard”.

Stopover in Weimar

In 1979, as general music director, he became chief conductor of the Weimar State Orchestra and musical director of the German National Theater . In Weimar he campaigned primarily for the works of Franz Liszt and Richard Wagner. He also premiered the Sinfonietta in A by Joachim Thurm and in 1981 - after moving to the Komische Oper Berlin - the 1st Symphony by Erhard Ragwitz . Concert tours also took the orchestra to Italy. Because of the increasing demand for concert tickets, he introduced the repetition of symphony concerts (every Thursday and Friday) in 1980. He also established school concerts. In 1981 he gave his last concert in Weimar, Liszt's Graner Messe . Looking back, he spoke very positively about his Weimar years, when the "vital musical life, the strong musical tradition that determined the cultural climate, the enormous interest the audience in everything" made a great impression on him. He felt these were the "most untroubled years" of his career so far.

In the same year of his conducting engagements, he became a professor at the Liszt School of Music in Weimar . He led the conducting class there and the university orchestra. In 1981 and 1988 he was visiting professor at the “International Music Seminar” in Weimar.

General Music Director at the Komische Oper

Auditorium of the German State Opera Berlin (Lindenoper) (1986)

After his debut in 1975 at the Deutsche Staatsoper Berlin with Puccini's Madama Butterfly , he was given numerous other guest conductors, including Wagner's Meistersinger von Nürnberg and Tristan and Isolde , Verdi's Otello , Puccini's Turandot and Tosca and Weber's Freischütz . In 1978 he conducted the opera premiere Prince Igor by Alexander Borodin, staged by the Bolshoi director Boris Pokrowski . For this he was awarded the Berlin newspaper's critics' prize in 1979 . In 1981 the opera Der Schmied von Gent by Franz Schreker took place under his direction ; the production was done by Erhard Fischer . The music critic Manfred Schubert evaluated the GDR premiere as a kind of “ reparation ”, because the National Socialists triggered an “anti-Semitic scandal” at the premiere in 1932, whereupon the work was canceled after only a few performances. In 1987, Reuter helped to organize the gala concert in the Berlin Schauspielhaus on the occasion of the opening of the celebrations for 750 years of Berlin .

In February 1981 he was brought into the new management team of the Komische Oper Berlin together with Werner Rackwitz (director), Harry Kupfer (chief director) and Hans-Jochen Genzel (chief dramaturge) . Reuter was chief conductor and musical director and co-designed several music theater productions . He worked u. a. with the countertenor Jochen Kowalski and the soprano Dagmar Schellenberger . According to the musicologist Thomas Schipperges, "he set content and quality standards in the 80s and early 90s" with his broad repertoire. In October 1981 he took over the musical direction of Wagner's Meistersinger von Nürnberg , Harry Kupfer's inaugural production. While the performance in New Germany was celebrated by Hansjürgen Schaefer and the Berliner Zeitung awarded its 1982 Critics' Prize in the categories of ensemble performance, directing, conducting and vocal performance, the Munich opera critic Jens Wendland critically summed up in the Süddeutsche Zeitung : “The new chief conductor In the sound-absorbing, problematic acoustics of the house, Rolf Reuter tried to match the direction with a vocal rather strained ensemble with great tonal colors, appealing, annoying drama. But he often kept the score far too short, too harmlessly sung-like. The musical weaknesses of the Komische Oper have for the time being taken over by the new people. ”From 1982 to 1987 Reuter conducted an opera cycle with the five main works by Wolfgang Amadeus Mozart : The Abduction from the Seraglio , The Magic Flute , The Marriage of Figaro , Idomeneo and Don Giovanni . In addition, he took over the musical direction of Puccini's La Bohème , Verdi's Rigoletto , Mussorgski's Boris Godunow , Smetana's Sold Bride , Tchaikovsky's Eugene Onegin , Dargomyschski's The Stone Guest , Schönberg's Expectation and Bizet's Carmen . In 1985 he was responsible for the world premiere of the opera Judith by Siegfried Matthus . On October 1, 1989, he performed the Freischütz von Webers , with the West German director Günter Krämer staging. The Frankfurt lawyer and deputy chairman of the association, Dieter Feddersen , recognized “hidden political allusions” in the performance. In 1990 Reuter suggested the establishment of a support association . In 1992, the opera Desdemona and her sisters was followed by another Matthus premiere, which was staged by Götz Friedrich in cooperation with the Schwetzingen Festival and the Deutsche Oper Berlin . The opera ensemble has made numerous guest appearances throughout Germany and abroad during his tenure.

In addition, Reuter also emerged as a concert conductor, for example at the GDR Music Days , the Berlin Festival and the symphony concerts of the Komische Oper, where he premiered several orchestral works : in 1982 the Berlin Divertimento for orchestra by Ernst Hermann Meyer and the double concerto for cello and harp and orchestra (with Regina and Gerhard Herwig ) by Georg Katzer , 1983 the Sieben Gesänge for contralto, guitar and orchestra based on texts by Federico Garcia Lorca (with Maria Farantouri and Costas Cotsiolis ) by Mikis Theodorakis , 1985 "Musik zu Bach" for orchestra by Ruth Zechlin and Neun Bagatellen for string orchestra by Reiner Bredemeyer , 1989 the cello concerto “Heterophonie” (with Jan Vogler ) by Thomas Reuter and 1991 “Area code 522” (no connection under this number?) For chamber orchestra by Reiner Bredemeyer. He also helped Hans Werner Henze's clarinet concerto “Le Miracle de la Rose” (with Oskar Michallik ) to its GDR premiere (1984). On the occasion of the 150th birthday of Johannes Brahms , he conducted his violin concerto in 1983 , with the Russian violin virtuoso Igor Oistrach being won as soloist . In the summer of 1993 he took his leave as musical director of the Komische Oper Berlin with Liszt's Faust Symphony . Nevertheless, he stayed with the house until his successor, Yakov Kreizberg , took office in 1994 as a permanent conductor.

During the turning point on November 5, 1989, at the mediation of trumpeter Rainer Auerbach, he performed at the “Concert Against Violence” organized by the Staatskapelle Berlin (meaning the Ministry for State Security ) in the Gethsemane Church in Berlin-Prenzlauer Berg with Bach's “ Air ” 3rd orchestral suite and Beethoven's 3rd symphony ("Eroica"). The public demand he made there has been handed down: “The wall must go”. On February 22, 1990, he published the article "Unity Thought as a Force of Nature" in the Berliner Zeitung . In it he spoke out in favor of German reunification on a democratic basis. In a reply to an article by the opera director of the Cottbus Theater, Dieter Reuscher, in the trade journal Theater der Zeit , Reuter said in the summer of 1990: “What would all 'prosperity', all 'democracy' be of use if the preservation and development of culture were not the ultimate goal? This culture is a continuum that has a powerful effect both as a historical development through the millennia and currently as a worldwide link between all cultural centers. Each individual is called upon to recognize, maintain and develop this culture on a small scale as a continuum. "

From 1981 he taught at the “Hanns Eisler” University of Music in Berlin , where he was most recently an honorary professor for conducting. The Berlin Reuter student Jurowski remembered his student days as follows in 2007: Reuter “always accepted the opinion of others. His conception of whether it was about music, philosophy or politics was never forced upon us. ”One could never accuse him of“ intolerance towards other opinions, but also races and cultures ”. Reuter held other teaching duties at the University of Music and Theater in Munich and the Conservatoire de Lyon . In 1993 he was the founding rector of the Rostock University of Music and Theater ; the office was given to the former Cologne professor Wilfrid Jochims in 1994 .

After his time as music director

After the reunification he became a member of the advisory board of the Freundeskreis Neubrandenburger Philharmonie / Marienkirche eV He also joined the sponsoring association of the International Music Academy for the Promotion of the Musically Gifted in Germany , which was founded by his wife. and was active in the artistic board of trustees of the International Festival of young opera singers at the Chamber Opera Rheinsberg Castle . At the opening of the Schlosstheater Rheinsberg in 1999 he premiered the chamber opera Kronprinz Friedrich by Siegfried Matthus. In 2000, together with his daughter Sophia Reuter and the orchestra of the Sorbian National Ensemble , he gave the world premiere of Heinz Roy's violin concerto , a student of his father's.

In the 1990s he headed the "Seminar for Young Opera Conductors" of the German Music Council in Altenburg. At the request of the designated general manager and managing director René Serge Mund , he was appointed general music director of the Altenburg-Gera theater from the 2000/01 season . After controversies with the Gera Philharmonic Orchestra , he did not take up his post. Instead, Gabriel Feltz became GMD.

In the 2003/04 season he returned to the German National Theater in Weimar as a guest conductor.

family

Grave of Rolf Reuter, Innerer Plauenscher Friedhof, Dresden (2012)

Reuter, a Protestant, was married to the coloratura singer Anemone Rau for the first time, and to the musicologist Claudia Reuter , b. Herzfeld. He was the father of four children: the composer, choirmaster and pianist Thomas Reuter (* 1952), the cellist Anna Niebuhr , the violinist and violist Sophia Reuter (* 1971) and the violinist Agnes Reuter (* 1975). Reuter last lived in Berlin-Schönholz . After a serious illness, he died in Berlin in 2007. His grave is in the Inner Plauen cemetery in Dresden- Plauen .

Reuters letters are u. a. handed down to the music department of the Berlin State Library - Prussian Cultural Heritage, the Saxon State Library - Dresden State and University Library and the Monacensia of the Munich City Library .

criticism

Shortly before his death, Rolf Reuter came under public criticism. On July 26, 2007, the Berliner Zeitung and the Tageszeitung were the first to report on the conductor's contact with right-wing extremist circles since the mid-1990s. The reporting was based on research by the anti-fascist press archive and education center in Berlin . National media like Der Spiegel also took up the topic. Accordingly, in May 2006, he gave the lecture “The folk song as the top soil of high musical culture” at the right-wing extremist Freundeskreis Ulrich von Hutten . At the same time, the founder of the Circle of Friends, Lisbeth Grolitsch , gave a lecture there . Since 2001 he has repeatedly been a guest of the German cultural community, which is monitored by the Office for the Protection of the Constitution . He also signed solidarity addresses for right-wing extremist publishers Andreas Röhler and Wigbert Grabert . The Berlin MP Tom Schreiber (SPD) called for the Federal Cross of Merit and honorary membership of the Komische Oper to be withdrawn.

In an interview with the Leipziger Volkszeitung on August 2, 2007, his former student Wladimir Jurowski defended him against accusations of right-wing radicalism. He compared the current reporting with press campaigns in the GDR and the Soviet Union, "where people were suddenly portrayed as criminals before they could be proven guilty". Jurowski at most admitted that Reuter had gone into the right-wing extremist milieu out of naivety, “in order to counter the present-day spirit of unculture there”. He also assumed that Reuter felt that he was “more understood there” and was therefore “appropriated, instrumentalized”. When asked about the cause of the campaign, Jurowski spoke of damage to its reputation.

Two days later, Reuter admitted the alleged contacts and distanced himself from their political views, which took the form of a declaration. An examination by the Office of the Federal President in coordination with the Berlin Senate Chancellery and the Federal Ministry of the Interior showed in early September 2007 that the prerequisites for a procedure to withdraw the award were not met. According to Wolfgang Osthoff (2008), a denunciation was picked up by the media . Reuter was a patriot or value conservative . He did not want to bow to “ political correctness ”, yet he by no means shared right- wing or left-wing extremism .

His support for Hans Pfitzner "indirectly led to the headlines" of 2007, as the music journalist Eleonore Büning noted in his obituary . As early as 1994, the Frankfurter Allgemeine Zeitung had an argument with the Germanist and Thomas Mann researcher Hans Rudolf Vaget . He saw in Hans Pfitzner the "real head of the Thomas Mann opponents" in Munich and recapitulated a contemporary newspaper article in which the "anti-Semitic agitation against Bruno Walter " was associated with the Hans Pfitzner Association for German Music Art. Reuter, president of the Hans-Pfitzner-Gesellschaft, accused him of " distorting " things. In the end, Vaget rated the Reuters replica as the “ exculpation tendencies of the Pfitzner community”. The theater scholar Sabine Busch (2001) described the assumption of Pfitzner's initiative as "one of the most resilient errors in the current Pfitzner image". Rather, the Bavarian State Opera Director Hans Knappertsbusch should be seen as the author.

meaning

Like Kurt Masur and Kurt Sanderling, Rolf Reuter belonged to the next generation of older conductors in the GDR. He particularly admired the conductor Wilhelm Furtwängler , but also Igor Markevitch for his style and fitness. According to the musicologist Wolfgang Osthoff (2008), “as a musician, he embodied the increasingly rare type of solid German conductor who learned his craft from scratch. So [...] he did not get into the glittering columns of the feuilleton ”. Reuter came from "circles that could be described as conservative, which were influenced by the ideas of German Romanticism ," said Wladimir Jurowski (2007). On the one hand he was extremely hostile to Carl Orff , on the other hand he adored Hans Pfitzner, at the same time he defended the Second Viennese School and the composer Paul Hindemith . Reuter also estimated u. a. Felix Mendelssohn Bartholdy , Gustav Mahler and Dmitri Schostakowitsch . The opera researcher Ernst Krause perceived him as a romantic who was nonetheless “an ardent supporter of Mozart”. In addition, Reuter campaigned for contemporary music. For the music critic Hansjürgen Schaefer he was "on the trail of the new, the opera, choral symphonies and symphonies of the 19th century". He was also fond of the music of Georg Friedrich Handel and Wolfgang Amadeus Mozart . Reuter considered the baroque opera to be completely undeveloped and then called for composers such as Johann Wolfgang Franck , Heinrich Ignaz Franz Biber , Georg Anton Benda and Philipp Heinrich Erlebach to be taken into account . Elsewhere he also mentioned Johann Adolph Hasse and the “musical daily items” by Johann Adolf Scheibe and Ignaz Umlauf , which delighted the audience with “simplicity and cheerfulness”. The operas and musical plays of this time were based on the demands of the Enlightenment , which are relevant up to the present day. At the beginning of the 1980s, he called for the establishment of the subject of historical performance practice at the music academies of the GDR across the board .

At home and abroad he has performed in many ways as an opera and concert conductor, such as guest conductors from the mid-1970s a. a. to the National Theater in Munich , the Palais Garnier in Paris, the Royal Opera House in Covent Garden, London, the Teatro Colón in Buenos Aires, the Teatro Comunale di Bologna , the State Theater on Gärtnerplatz in Munich and the State Theater in Mainz . In 1986 he made guest appearances with the Deutsches Theater Berlin at the Maly Theater in Moscow and at the Vyborg Palace of Culture in Leningrad. In 1992 he accepted an invitation to Israel with the Leipzig Opera as the first opera ensemble from the new federal states . He has performed repeatedly with radio orchestras such as the Rundfunk-Sinfonieorchester Berlin , the Symphonieorchester des Bayerischen Rundfunks , the Nouvel Orchester Philharmonique de Radio-France and the MDR Symphony Orchestra . In addition, he conducted a. a. the Gewandhausorchester Leipzig , the Sächsische Staatskapelle Dresden , the Dresden Philharmonie , the Tokyo Metropolitan Symphony Orchestra and the Niederösterreichische Tonkünstler-Orchester .

Reuter has been involved in several radio and LP / CD productions. In 1976, on the occasion of the 80th birthday of his father, he recorded his third symphony and Siegfried Kurz 's horn concerto with the Munich Philharmonic and horn player Peter Damm for the Bavarian Radio . At the record label Eterna he published a. a. Recordings of the incidental music Egmont by Ludwig van Beethoven , the cantata Die Lügengeschichte vom Schwarzen Pferd by Max Butting and musical works by his father. He presented the following complete opera recordings: The Flying Dutchman by Richard Wagner (1964), Prometheus by Rudolf Wagner-Régeny (1984), Judith by Siegfried Matthus (1986) and Das Herz by Hans Pfitzner (1993). According to the music journalist and Karajan biographer Peter Uehling , his career was “free of spectacular climaxes or breakthroughs. His discography is narrow and little significant in the juxtaposition of Handel and Berlioz ”.

According to the Leipzig musicologist Werner Wolf , Reuter campaigned “vehemently for unrecognized composers and unjustifiably neglected works,” including Hans Pfitzner . Gerald Felber , music editor of the Berliner Zeitung , attested Reuter a "binding [] ambition to raise the controversial composer to the public's attention to the best of his ability". In doing so, he joined other German-speaking conductors such as Christian Thielemann , Werner Andreas Albert and Martin Sieghart . Even in the GDR era, Reuter directed performances of Pfitzner works such as the romantic cantata Von deutscher Seele , which “GDR cultural politicians viewed with great skepticism” ( Jörg Clemen ). From 1990 to 1998 Reuter was President - as the first GDR citizen of an all-German organization - and until his death a member of the presidium of the previously troubled Hans Pfitzner Society . In this context, his Rudolstadt rerun of the last Pfitzner opera Das Herz is regarded as significant . The director Peter P. Pachl took on this - after Dortmund 1954 - second post-war production. The performance is "documented on CD and is therefore essential for further reception".

He also made a living as an orchestra teacher, with the later Thomaskantor , Georg Christoph Biller , and the chief conductor of the London Philharmonic Orchestra , Wladimir Jurowski , among his most prominent students. In addition, he taught a. a. Claus Peter Flor , Eckehard Mayer and Reinhard Seehafer . Stefan Sanderling was a Reuters assistant at the Komische Oper Berlin. He was also the teacher of the conductors Yuuko Amanuma , Shi-Yeon Sung and Johanna Weitkamp .

Awards

Discography (selection)

Filmography

literature

  • Gabriele Baumgartner: Reuter, Rolf . In: Gabriele Baumgartner, Dieter Hebig (Hrsg.): Biographisches Handbuch der SBZ / DDR. 1945–1990. Volume 2: Maaßen – Zylla . Addendum to Volume 1, KG Saur, Munich 1997, ISBN 3-598-11177-0 , p. 708.
  • Norbert Beleke (Ed.): Who is who? The German Who's Who . 45th edition (2006/07), Schmidt-Römhild, Lübeck 2006, ISBN 3-7950-2042-5 , p. 1069.
  • Günther Buch: Names and dates of important people in the GDR . 4th, revised and expanded edition. Dietz, Berlin a. a. 1987, ISBN 3-8012-0121-X , p. 260.
  • David M. Cummings (Ed.): International Who's Who in Music and Musician's Directory (in the Classical and Light Classical Fields) . 17th edition (2000/01), Melrose Press, Cambridge 2000, ISBN 0-948875-53-4 , p. 537.
  • Herbert A. Frenzel , Hans Joachim Moser (ed.): Kürschner's biographical theater manual. Drama, opera, film, radio. Germany, Austria, Switzerland . de Gruyter, Berlin 1956, p. 594.
  • John L. Holmes: Conductors on Record. Greenwood Press, Westport 1982, ISBN 0-575-02781-9 , p. 537.
  • Wilhelm Kosch : German Theater Lexicon . Biographical and bibliographical manual . Volume 3: Pallenberg - Singer . De Gruyter, Berlin 1992, ISBN 3-317-00456-8 .
  • Wolfgang Osthoff : Rolf Reuter (1926-2007) . In: Mitteilungen der Hans Pfitzner-Gesellschaft NF 68 (2008), pp. 9–12.
  • Alain Pâris : Classical Music in the 20th Century. Instrumentalists, singers, conductors, orchestras, choirs . 2nd, completely revised edition, Deutscher Taschenbuch Verlag, Munich 1997, ISBN 3-423-32501-1 , p. 648.
  • Axel Schiederjürgen (Red.): Kürschner's manual for musicians. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 379.
  • Horst Seeger : The great lexicon of the opera. Over 12,000 keywords and explanations . Pawlak, Herrsching 1985, ISBN 3-88199-243-X , p. 465.
  • Nicolas Slonimsky , Laura Kuhn, Dennis McIntire: Reuter, Rolf . In: Laura Kuhn (Ed.): Baker's Biographical Dictionary of Musicians . Volume 5: Pisc – Stra . 9th edition, Schirmer Reference, New York 2001, ISBN 0-02-865530-3 , p. 167.

Web links

Commons : Rolf Reuter  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h Herbert A. Frenzel , Hans Joachim Moser (ed.): Kürschner's biographical theater manual. Drama, opera, film, radio. Germany, Austria, Switzerland . de Gruyter, Berlin 1956, p. 594.
  2. ↑ a b c d e f g h i H.L .: Youth concerts in the timetable. Way and work of the general music director Rolf Reuter . In: Neue Zeit , April 14, 1962, vol. 18, issue 89, p. 3.
  3. ↑ Erich H. Müller (Ed.): German Musicians Lexicon . W. Limpert-Verlag, Dresden 1929.
  4. ^ A b c Rolf Richter: Arch musician and meticulous worker . In: Leipziger Volkszeitung , September 12, 2007, p. 11.
  5. ↑ a b c d e f g h i j k l Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 379.
  6. ↑ a b Entry on Fritz Reuter in the Catalogus Professorum Halensis (accessed on March 26, 2020)
  7. ↑ a b c d e f g h Georg Antosch: With inspiration and passion. The artist portrait: General Music Director Rolf Reuter . In: Neue Zeit , November 27, 1976, vol. 32, issue 283, p. 4.
  8. ↑ a b c d e Christine Hartlieb: Nearly seized the medical profession. Rolf Reuter conducts the Weimar University Orchestra . In: Thüringische Landeszeitung , November 15, 2000.
  9. ↑ a b c d e f g h i j k Rolf Reuter, Wolfgang Lange: Prelude. Conversations with conductors: Rolf Reuter in conversation with Wolfgang Lange . In: Theater der Zeit 5/1981, pp. 13–15, here: p. 13.
  10. ↑ Alain Pâris : Classical Music in the 20th Century. Instrumentalists, singers, conductors, orchestras, choirs . 2nd, completely revised edition, Deutscher Taschenbuch Verlag, Munich 1997, ISBN 3-423-32501-1 , p. 648.
  11. ↑ Günter Görtz, Rolf Reuter: Our music should strengthen people in their future certainty. ND conversation with Professor Rolf Reuter, Komische Oper . In: Neues Deutschland , June 28, 1983, vol. 38, issue 150, p. 4.
  12. ↑ a b c d e Norbert Beleke (Ed.): Who is who? The German Who's Who . 45th edition (2006/07), Schmidt-Römhild, Lübeck 2006, ISBN 3-7950-2042-5 , p. 1069.
  13. ^ Georg VK: cultural news from all over the world . In: Berliner Zeitung , March 30, 1961, vol. 17, issue 89, p. 6.
  14. ^ Wilhelm Kosch : German Theater Lexicon . Biographical and bibliographical manual . Volume 3: Pallenberg - Singer . De Gruyter, Berlin 1992, ISBN 3-317-00456-8 .
  15. ^ Heinz Wegener: Bibliography Fritz Reuter . In the S. (Red. Ed.): Commemorative publication Fritz Reuter (= scientific journal of the Humboldt University of Berlin. Social and linguistic series 15 (1966) 3). S. I-VIII, here: SV
  16. ↑ a b c d Gabriele Baumgartner: Reuter, Rolf . In: Gabriele Baumgartner, Dieter Hebig (Hrsg.): Biographisches Handbuch der SBZ / DDR. 1945–1990. Volume 2: Maaßen – Zylla . Addendum to Volume 1, KG Saur, Munich 1997, ISBN 3-598-11177-0 , p. 708.
  17. ^ A b Rolf Reuter, Wolfgang Lange: Prelude. Conversations with conductors: Rolf Reuter in conversation with Wolfgang Lange . In: Theater der Zeit 5/1981, pp. 13–15, here: p. 14.
  18. ↑ [untitled] . In: Neue Zeit , March 4, 1962, vol. 18, issue 54, p. 4.
  19. ^ Fritz Hennenberg : 300 years of Leipzig Opera. Past and present . Langen Müller, Munich 1993, ISBN 3-7844-2432-5 , p. 153.
  20. ^ A b Rolf Reuter, Wolfgang Lange: Prelude. Conversations with conductors: Rolf Reuter in conversation with Wolfgang Lange . In: Theater der Zeit 5/1981, pp. 13–15, here: p. 15.
  21. ↑ Horst Seeger : The great lexicon of the opera. Over 12,000 keywords and explanations . Pawlak, Herrsching 1985, ISBN 3-88199-243-X , p. 465.
  22. ^ A b Manfred Schubert : A true Volksoper. Alan Bush's “Guayana Johnny” premiered in Leipzig . In: Berliner Zeitung , January 5, 1967, vol. 23, issue 5, p. 6.
  23. ↑ Opera premiere . In: Berliner Zeitung , December 13, 1966, vol. 22, issue 342, p. 6.
  24. ↑ a b c Christian Fanghänel, Heike Bronn: From the “orchestral school” to the university symphony orchestra . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 26 (2009), supplement, pp. 1–5, here: p. 4.
  25. ↑ Dieter Lösker: Effects of a rich work. Balance of the II. International Bach Festival . In: Neue Zeit , September 24, 1970, vol. 26, issue 226, p. 4.
  26. ↑ a b Well-known opera conductor comes to the Altenburg-Gera Theater . In: Leipziger Volkszeitung , July 12, 1999, p. 11.
  27. ^ Thomas Topfstedt : The structural development of the University of Leipzig from 1946 to 1989 . In: Michaela Marek , Thomas Topfstedt (eds.): History of the University of Leipzig 1409–2009 . Volume 5: History of Leipzig University Buildings in an Urban Context . Published on behalf of the Rector of the University of Leipzig Fanz Häuser by the Senate Commission for Research into Leipzig University and Science History, Leipziger Universitätsverlag, Leipzig 2009, ISBN 978-3-86583-305-1 , pp. 441-514, here: p. 488 .
  28. ↑ Steffen Lieberwirth (Hrsg.): Mitteldeutscher Rundfunk. The history of the symphony orchestra . On behalf of the Mitteldeutscher Rundfunk, written by Jörg Clemen, Kamprad, Altenburg 1999, ISBN 3-930550-09-1 , p. 133.
  29. ↑ a b Volker Blech: conductor Rolf Reuter died at the age of 80. In Berlin he helped shape the Komische Oper . In: Berliner Morgenpost , September 12, 2007, No. 249, p. 23.
  30. ^ Horst Schiefelbein: Liszt, Wagner, Strauss and young GDR music. Conversation with General Music Director Prof. Rolf Reuter . In: Neues Deutschland , January 3, 1980, vol. 35 / issue 2, p. 4.
  31. ↑ a b c Hans John : Weimar City of Music . Deutscher Verlag für Musik, Leipzig 1985, p. 113.
  32. ^ KR: World premieres of new musical works at the Weimar Theater . In: Neues Deutschland , March 29, 1980, vol. 35, edition 76, p. 4.
  33. ^ 1st Symphony by Ragwitz premiered with success . In: Neue Zeit , April 22, 1981, vol. 37, issue 95, p. 1.
  34. ↑ a b c d e Klaus Klingbeil: I feel very comfortable here. Conversation with Professor Rolf Reuter, chief conductor of the Komische Oper Berlin . In: Berliner Zeitung , July 7, 1981, vol. 37, issue 158, p. 7.
  35. ↑ Wolfram Huschke : Future Music. A history of the Liszt School of Music Weimar . Böhlau, Cologne a. a. 2006, ISBN 3-412-30905-2 , p. 395.
  36. ↑ Wolfram Huschke : Future Music. A history of the Liszt School of Music Weimar . Böhlau, Cologne a. a. 2006, ISBN 3-412-30905-2 , p. 466.
  37. ↑ Manfred Haedler: Directory of world premieres of operas and musical comedies 1742-1884 and all premiers 1885-1992 . In: Georg Quander (Hrsg.): 250 years of the opera house Unter den Linden. Apollini et musis . Propylaea, Frankfurt am Main u. a. 1992, ISBN 3-549-05209-X , pp. 379-465, here: p. 458.
  38. ↑ a b BZ Critics' Prize awarded in 1979 . In: Berliner Zeitung , September 29, 1979, vol. 35, edition 230, p. 10.
  39. ↑ Norbert Miller : No leeway in heaven and hell. Franz Schreker's last opera “Der Schmied von Gent” was performed again in East Berlin . In: Süddeutsche Zeitung , July 9, 1981, No. 154, p. 29.
  40. ↑ Manfred Schubert: Justification for one wrongly forgotten. GDR premiere of Schreker's “Schmied von Gent” in the State Opera . In: Berliner Zeitung , July 9, 1981, vol. 37, edition 160, p. 7.
  41. ↑ The 750th anniversary of Berlin with a festive concert on New Year's Eve was brilliantly initiated . In: Berliner Zeitung , January 2, 1987, vol. 43, issue 1, p. 1f.
  42. ↑ a b Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 214.
  43. ^ Hans-Jochen Genzel: Music theater yesterday and tomorrow . In the S. (Red.): The comic opera . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , pp. 37–49, here: p. 49.
  44. ↑ Thomas Schipperges : "My temper is confused to me". On the death of Rolf Reuter (1926–2007) . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 24 (2008), p. 60.
  45. ↑ a b BZ Critics' Prize awarded in 1982 . In: Berliner Zeitung , October 2, 1982, vol. 38, issue 232, p. 7.
  46. ↑ Jens Wendland: The Mastersingers move to the Komische Oper. Overdue repertoire gain: Harry Kupfers Wagner production in East Berlin . In: Süddeutsche Zeitung , October 6, 1981, No. 229, p. 11.
  47. ↑ Thomas Feist, Rolf Reuter: "I like the abysses, the corners and the edges with Mozart". In conversation with Prof. Rolf Reuter, chief conductor of the Komische Oper . In: Berliner Zeitung , January 26, 1991, vol. 47, issue 22, p. 13.
  48. ↑ a b Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 222.
  49. ↑ a b c d e f Hans-Jochen Genzel (Red.): The comic opera . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 224.
  50. ↑ a b Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 225.
  51. ↑ a b c Hans-Jochen Genzel (Red.): The comic opera . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 223.
  52. ↑ Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 215.
  53. ^ A b Dieter Feddersen: Friends of the Komische Oper eV association - link between theater and visitors . In: Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , pp. 66–72, here: p. 67.
  54. ↑ Dieter Feddersen: Friends of the Komische Oper eV - a link between theater and visitors . In: Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , pp. 66–72, here: p. 68.
  55. ^ Götz Friedrich : Volksoper . In: Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , pp. 95–99, here: p. 98.
  56. ↑ Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , p. 228f.
  57. ↑ Hans-Peter Müller: cheerful, serious and accusing. GDR Music Days opened with world premieres . In: Berliner Zeitung , February 20, 1982, vol. 38, issue 43, p. 7.
  58. ↑ Festive concert with world premiere . In: Neue Zeit , October 1, 1983, vol. 39, issue 232, p. 2.
  59. ^ A concert by Ruth Zechlin premiered in Berlin . In: Neues Deutschland , March 2, 1985, vol. 40, issue 52, p. 4.
  60. ↑ wh: Ecstatically joyful and extremely focused. First performance in the concert of the Komische Oper . In: Neue Zeit , October 10, 1985, vol. 41, issue 237, p. 4.
  61. ^ Project for the new season of the Komische Oper . In: Neue Zeit , September 29, 1989, vol. 45, edition 230, p. 4.
  62. ↑ First performance at the Berliner Festtagen. Programs with renowned artists and orchestras . In: Neues Deutschland , October 18, 1989, vol. 44, edition 245, p. 1.
  63. ↑ Nina Noeske: Musical deconstruction. New instrumental music in the GDR (= KlangZeiten . Vol. 3). Böhlau, Cologne a. a. 2007, ISBN 3-412-20045-X , pp. 167f./Fn. 177.
  64. ^ Henze concert premiered in the GDR . In: Berliner Zeitung , October 6, 1984, vol. 40, issue 237, p. 10.
  65. ↑ Stormy applause for Igor Oistrach's concert . In: Neues Deutschland , April 23, 1983, vol. 38, issue 95, p. 4.
  66. ↑ Werner Schönsee: Faust in great urgency. Farewell to Rolf Reuters as head of music at the Komische Oper Berlin . In: Neue Zeit , June 21, 1993, vol. 49, issue 141, p. 12.
  67. ↑ Dieter Feddersen: Friends of the Komische Oper eV - a link between theater and visitors . In: Hans-Jochen Genzel (Red.): The Komische Oper . Edited by von der Komische Oper, Nicolai, Berlin 1997, ISBN 3-87584-656-7 , pp. 66–72, here: p. 71.
  68. ↑ Horst Richter: "Precision, Expression and Fire". From the Brandenburg Capella to the Staatskapelle Berlin . In: Georg Quander (Hrsg.): 250 years of the opera house Unter den Linden. Apollini et musis . Propylaea, Frankfurt am Main u. a. 1992, ISBN 3-549-05209-X , pp. 277-292, here: p. 291.
  69. ↑ Horst Richter: "Precision, Expression and Fire". From the Brandenburg Capella to the Staatskapelle Berlin . In: Georg Quander (Hrsg.): 250 years of the opera house Unter den Linden. Apollini et musis . Propylaea, Frankfurt am Main u. a. 1992, ISBN 3-549-05209-X , pp. 277-292, here: p. 289.
  70. ↑ Gustav Seibt : We are heroes. A memorable evening in Berlin's Gethsemane Church: As in the stormy autumn of 1989, the Staatskapelle Ludwig van Beethoven's "Eroica" plays. The re-performance in the same place could not be more moving - it becomes the hymn to the civil rights activists of the former GDR . In: Süddeutsche Zeitung , November 4, 2009, p. 3.
  71. ^ Rolf Reuter: Unity thought as a force of nature. Politicians must take a clear position on the national task of the Germans . In: Berliner Zeitung , February 22, 1990, vol. 46, issue 45, p. 9.
  72. ↑ Rolf Reuter: It is easy to smash…. In: Theater der Zeit 6/1990, p. 2.
  73. ↑ a b c d e f g h i Wladimir Jurowski , Jürgen Kleindienst: Interview: “Amazement, then indignation”. Vladimir Jurowski, head of the London Philharmonic Orchestra, protects his teacher Rolf Reuter . In: Leipziger Volkszeitung , August 2, 2007, p. 10.
  74. ↑ Peter Gerds: Universities at the cat table. Austrian scientists warn of the consequences of rigorous savings in Rostock . In: Neue Zeit , April 26, 1993, vol. 49, issue 96, p. 21.
  75. ↑ Christine Schulz: Harmonious triad in the north. The Neubrandenburger Philharmonie with chief conductor Romely Pfund looking for future opportunities . In: Neue Zeit , March 30, 1991, vol. 47, edition 75, p. 13.
  76. ↑ Die Akademie , int-musikakademie.org, accessed April 6, 2020.
  77. ↑ Ulrike Petzold: The gardener tries out her love. A car company sponsors young voices, international opera workshop in Rheinsberg . In: Neue Zeit , August 16, 1991, vol. 47, issue 190, p. 3.
  78. ^ Robert Rauh : Fontanes Ruppiner Land. New walks through the Mark Brandenburg . edition q in be.bra verlag, Berlin 2019, ISBN 978-3-86124-723-4 , p. 117.
  79. ↑ Crista Vogel: Enjoyable evening in the town hall . In: Sächsische Zeitung , March 28, 2000, p. 10.
  80. ↑ General manager Serge Mund followed the recommendation of the theater musicians . In: Leipziger Volkszeitung , April 25, 2001, p. 15.
  81. ↑ Peter Uehling: Sowing the smallest seeds with the help of music. The Berlin conductor Rolf Reuter has died . In: Berliner Zeitung , issue 213, September 12, 2007, p. 34.
  82. ↑ Uwe Friedrich: The humanist. Berlin conductor Rolf Reuter has died . In: Der Tagesspiegel , No. 19665, September 12, 2007, p. 27.
  83. ^ Conductor Rolf Reuter is buried in Dresden . In: Leipziger Volkszeitung , September 19, 2007, p. 11.
  84. ↑ Felix Lee: Right edge: SPD blows conductors the march . In: the daily newspaper , July 26, 2007.
  85. ↑ a b c d e f suspected right-wing extremism. Conductor should return the Federal Cross of Merit . In: Der Spiegel , July 26, 2007.
  86. ↑ Music: Reuter admits contacts to right-wing extremists and distances itself . In: Die Welt , August 4, 2007, No. 180, p. 23.
  87. ↑ Former General Music Director Reuter is allowed to keep the Cross of Merit . In: Die Welt , September 7, 2007, No. 209, p. 34.
  88. ↑ a b c d e f Wolfgang Osthoff : Rolf Reuter (1926–2007) . In: Mitteilungen der Hans Pfitzner-Gesellschaft NF 68 (2008), pp. 9–12, here: p. 10.
  89. ^ Eleonore Büning : From the bottom up. Conductor Rolf Reuter has died . In: Frankfurter Allgemeine Zeitung , September 12, 2007, No. 212, p. 37.
  90. ^ Hans Rudolf Vaget : Prelude in Munich. Bruno Walter and the expulsion of Thomas Mann . In: Frankfurter Allgemeine Zeitung , May 14, 1994, No. 111, p. B1.
  91. ^ Rolf Reuter: Thomas Mann - Bruno Walter - Hans Pfitzner . In: Frankfurter Allgemeine Zeitung , June 6, 1994, No. 128, p. 9.
  92. ^ Hans Rudolf Vaget: Exculpation tendencies of the Pfitzner community . In: Frankfurter Allgemeine Zeitung , June 24, 1994, No. 144, p. 8.
  93. ↑ Sabine Busch: Hans Pfitzner and National Socialism (= M - & - P series of publications for science and research: music ). Metzler, Stuttgart a. a. 2001, ISBN 3-476-45288-3 , p. 167 / fn. 412.
  94. ^ Bernhard Uske: Gardener in a blooming landscape. The conductors of the GDR - Part II . In: Fono Forum 5/1996, pp. 26–33, here: p. 30.
  95. ^ A b John L. Holmes: Conductors on Record. Greenwood Press, Westport 1982, ISBN 0-575-02781-9 , p. 537.
  96. ↑ Ernst Krause : Conductor profiles - balance sheet of forty operatic years. From Wilhelm Furtwängler to Ude Nissen . In: Theater der Zeit , pp. 9–12, here: p. 12.
  97. ^ A b Hansjürgen Schaefer: Valid performances in the opera and in the concert hall. To the conductor Prof. Rolf Reuter for his sixtieth . In: Neues Deutschland , October 9, 1986, vol. 41, edition 238, p. 4.
  98. ^ Rolf Reuter, Wolfgang Lange: Prelude. Conversations with conductors: Rolf Reuter in conversation with Wolfgang Lange . In: Theater der Zeit 5/1981, pp. 13–15, here: pp. 14f.
  99. ↑ Joachim Herz, Rolf Reuter, Günter Lohse, Otmar Suitner, Roland Wambeck, Albrecht Hofmann, Rainer Wenke, Heinz Struve, Carl Heinz Erkrath, Ude Nissen and Klaus Kahl: Forgotten works - lost values. Survey among directors and conductors (2) . In: Theater der Zeit 7/1983, pp. 16-18, here: pp. 17f.
  100. ↑ Rolf Reuter: Ignorance of confirmed knowledge? A contribution to the discussion . In: Theater der Zeit 12/1982, p. 46f.
  101. ^ "Rolf Reuter" (Les Archives du spectacle), lesarchivesduspectacle.net, accessed on March 26, 2020.
  102. ↑ Performance Database Search Results "Rolf Reuter" (Royal Opera House Collections), rohcollections.org.uk, accessed: March 26, 2020.
  103. ↑ Rolf Reuter conducts at the Teatro Colon . In: Berliner Zeitung , July 12, 1986, vol. 42, issue 163, p. 7.
  104. ^ Ernst Krause : Success for "Fidelio" in the land of Belcanto. Rolf Reuter conducted Beethoven's opera at the Teatro Comunale in Bologna . In: Neues Deutschland , April 9, 1987, vol. 42, issue 84, p. 4.
  105. ^ Livia Neugebauer: stronghold of the great opera. Munich's musical life is flourishing despite the reconstruction of the National Theater . In: Neue Zeit , April 13, 1993, vol. 49, issue 85, p. 12.
  106. ↑ Ellen Kohlhaas: Cheerful gender struggle. Premiere of "La finta semplice" at the State Theater Mainz . In: Frankfurter Allgemeine Zeitung , June 8, 1998, No. 130, p. 52.
  107. ^ German theaters in Moscow and Leningrad . In: Neue Zeit , November 18, 1986, vol. 42, issue 272, p. 4.
  108. ↑ Leipzig Opera as a guest in Israel . In: Berliner Zeitung , June 2, 1992, vol. 48, issue 127, p. 13.
  109. ^ Karl Schumann: Scene at the regulated brook. Rolf Reuter at the radio symphony concert in Munich . In: Süddetsche Zeitung , 12./13. February 1983, No. 35, p. 16; Albrecht Roeseler : Debut of a great pianist. Cecile Licad and the Bavarian Radio Symphony Orchestra . In: Süddeutsche Zeitung , 22./23. December 1984, No. 296, p. 16.
  110. ↑ GDR culture has many friends in France . In: Neues Deutschland , July 28, 1979, vol. 34, edition 176, p. 4; Conducted in Paris . In: Berliner Zeitung , November 11, 1986, vol. 42, issue 266, p. 7; Applause for the Berlin general music director . In: Neues Deutschland , February 29, 1988, vol. 43, issue 50, p. 4.
  111. ↑ Steffen Lieberwirth (Hrsg.): Mitteldeutscher Rundfunk. The history of the symphony orchestra . On behalf of the Mitteldeutscher Rundfunk, written by Jörg Clemen, Kamprad, Altenburg 1999, ISBN 3-930550-09-1 , p. 161.
  112. ↑ First performance of the string music in 3 parts by Günter Neubert on April 9, 1969, cf. German Composers 'Association (Ed.): Contemporary composers in the German Composers' Association. A manual . 5th edition, ConBrio Verlags-Gesellschaft, Regensburg 2000, ISBN 3-932581-34-2 ( online ).
  113. ↑ Conductor of the Komische Oper toured Japan . In: Berliner Zeitung , June 25, 1984, vol. 40, issue 148, p. 2.
  114. ↑ Search results for "rolf reuter" in the event archive of the Lower Austrian Tonkünstler Orchestra, test.tonkuenstler.at, accessed on April 2, 2020.
  115. ^ 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. 694.
  116. ^ 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. 597.
  117. ^ 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. 263.
  118. ^ 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. 336.
  119. ↑ Peter Uehling: Sowing the smallest seeds with the help of music. The Berlin conductor Rolf Reuter has died . In: Berliner Zeitung , issue 213, September 12, 2007, p. 34.
  120. ↑ Werner Wolf : Pfitzner in the Gewandhaus. Rolf Reuter's commitment to the rare . In: Leipziger Volkszeitung , April 7, 2001, p. 9.
  121. ↑ Gerald Felber: Emotion without externalized declamation. Pfitzner played the orchestra of the Komische Oper under Rolf Reuter . In: Berliner Zeitung , November 16, 1991, vol. 47, issue 268, p. 21.
  122. ^ Günter Buhles: Pfitzner, Hans. Orchestral songs . In: das Orchester 05/2011, p. 74.
  123. ↑ Steffen Lieberwirth (Hrsg.): Mitteldeutscher Rundfunk. The history of the symphony orchestra . On behalf of Mitteldeutscher Rundfunk, written by Jörg Clemen, Kamprad, Altenburg 1999, ISBN 3-930550-09-1 , p. 141.
  124. ^ A b Wolfgang Osthoff : Rolf Reuter (1926–2007) . In: Mitteilungen der Hans Pfitzner-Gesellschaft NF 68 (2008), pp. 9–12, here: p. 9.
  125. ↑ Sabine Busch-Frank: Words or Works? Hans Pfitzner's image of Jews in his operas. The rose from the love garden and the heart . In: Hans-Peter Bayerdörfer, Jens Malte Fischer (ed.): Jews roles. Forms of representation in the European theater from the Restoration to the interwar period (= Conditio Judaica . Vol. 70). Niemeyer, Tübingen 2008, ISBN 978-3-484-65170-8 , pp. 165–178, here: p. 176.
  126. ^ Wolfgang Langner: The Gewandhaus Choir in Leipzig. From the beginning until 2000 . Sax-Verlag, Beucha 2005, ISBN 3-934544-72-X , p. 162.
  127. ↑ Julia Spinola: The great conductors of our time. With a detailed lexicon part. Henschel, Berlin 2005, ISBN 3-89487-480-5 , p. 240.
  128. ↑ Julia Spinola: The great conductors of our time. With a detailed lexicon part. Henschel, Berlin 2005, ISBN 3-89487-480-5 , p. 221.
  129. ^ Thomas Kupsch: New Music at the Dresden State Theater. The composers Rainer Kunad, Thomas Hertel and Eckehard Mayer as directors of drama music in the last third of the 20th century . In: Matthias Herrmann , Hanns-Werner Heister (Ed.): Dresden and advanced music in the 20th century. Report on the colloquium organized by the Dresden Center for Contemporary Music and the Institute for Musicology at the "Carl Maria von Weber" Academy of Music in Dresden (= Music in Dresden . Vol. 6). Part 3: 1966-1999 . Laaber, Laaber 2004, ISBN 3-89007-511-8 , pp. 201–210, here: p. 208.
  130. ^ Arno Zähringer: Music as a link between people. Intendant Reinhard Seehafer celebrated his 60th birthday on Thursday . In: Volksstimme , September 7, 2018, p. 10.
  131. ↑ Livia Neugebauer: After flying high, now a happy landing. Encounter with the conductor Stefan Sanderling . In: Neue Zeit , August 11, 1990, vol. 46, issue 186, p. 11.
  132. ↑ International Working Group on Women and Music Archives (ed.): European Conductor Reader (= series of publications by the International Working Group on Women and Music . Vol. 4). Furore-Verlag, Kassel 2003, ISBN 3-927327-55-7 , p. 10.
  133. ↑ Wolfgang Sander: The woman at the conductor's desk . In: Frankfurter Allgemeine Zeitung , April 30, 2007, No. 100, p. 44.
  134. ↑ International Working Group on Women and Music Archives (ed.): European Conductor Reader (= series of publications by the International Working Group on Women and Music . Vol. 4). Furore-Verlag, Kassel 2003, ISBN 3-927327-55-7 , p. 180.
  135. ^ Günther Buch: Names and dates of important people in the GDR . 4th, revised and expanded edition. Dietz, Berlin a. a. 1987, ISBN 3-8012-0121-X , p. 260.
  136. ↑ High awards given . In: Berliner Zeitung , October 8, 1986, vol. 42, issue 237, p. 4.
  137. ↑ Honorary members at the Komische Oper . In: Berliner Zeitung , July 7, 1993, vol. 49, issue 156, p. 25.
  138. ↑ topic: Tactical . In: Der Tagesspiegel , No. 17209, October 22, 2000, p. 13.
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personal data
SURNAME Reuter, Rolf
ALTERNATIVE NAMES Reuter, Rolf Friedrich (full name)
BRIEF DESCRIPTION German conductor and university professor
DATE OF BIRTH October 7, 1926
PLACE OF BIRTH Leipzig
DATE OF DEATH September 10, 2007
Place of death Berlin