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Fidelio, Hörbuch, Digital, 1, 79min
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Fidelio is a work like no other. Beethoven’s only opera is about the joy of married love - by a man who never knew that pleasure. It is about heroism by a man who was often mean and petty in his human relations; it is about freedom by a man who was a prisoner of his own deafness; and ultimately it is about joy by a man who experienced precious little of it. Maybe there is a divine logic to that: feelings the artist could not experience but could express find their noblest manifestation in music of overwhelming power and majesty. The most popular operas from the early 19th century are Italian - Rossini, Donizetti, Verdi. We know that Fidelio is important because it was Beethoven’s only opera, but it is not, on the face of it, as much fun as The Barber of Seville, or Don Pasquale. This is why Thomson Smillie’s introduction is so useful. He places the plot and the music against the background of Beethoven’s own turbulent life and suddenly we realise the importance and the uplifting nature of the themes he deals with - starting with fidelity, the name of the opera itself. This is a riveting preparation for seeing or hearing the whole opera.PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your My Library section along with the audio. 1. Language: English. Narrator: David Timson. Audio sample: http://samples.audible.de/bk/naxo/000793/bk_naxo_000793_sample.mp3. Digital audiobook in aax.

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Beethoven Moves (eBook, ePUB)
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Ludwig van Beethoven's universal, unique reception, the epic significance of his music, and the perception of his iconic, stylized personality allow for a vast number of starting points. This book develops a network of interdisciplinary possibilities and associations, opening up room for fascinating thoughts about Beethoven. Paintings by Caspar David Friedrich, William Turner's sketchbooks, prints by Francisco de Goya and Jorinde Voigt, and sculptures by Auguste Rodin, Rebecca Horn, and John Baldessari are brought into the conversation and set in relation to the music of Beethoven, as well as to the man himself. These works of art are supplemented by a number of voices from around the world: texts that alternate between science and literature, proximity and distance, expertise and fandom. They demonstrate that this incomparable musician continues to move us in very different ways, even 250 years after his birth.LUDWIG VAN BEETHOVEN (1770-1827) is the most-often heard classical composer. Over the years of his gradually increasing deafness, which he first noticed at the age of thirty-one, he created his most famous works, including eight symphonies, his masterpiece Fidelio, and the music for Goethe's Egmont. PARTICIPATING ARTISTS John Baldessari, Jan Cossiers, Ayse Erkmen, Caspar David Friedrich, Francisco de Goya, Rebecca Horn, Idris Khan, Anselm Kiefer, Auguste Rodin, Tino Sehgal, J.M.W. Turner, Jorinde Voigt, Guido van der Werve

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Beethoven Moves (eBook, ePUB)
33,95 € *
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Ludwig van Beethoven's universal, unique reception, the epic significance of his music, and the perception of his iconic, stylized personality allow for a vast number of starting points. This book develops a network of interdisciplinary possibilities and associations, opening up room for fascinating thoughts about Beethoven. Paintings by Caspar David Friedrich, William Turner's sketchbooks, prints by Francisco de Goya and Jorinde Voigt, and sculptures by Auguste Rodin, Rebecca Horn, and John Baldessari are brought into the conversation and set in relation to the music of Beethoven, as well as to the man himself. These works of art are supplemented by a number of voices from around the world: texts that alternate between science and literature, proximity and distance, expertise and fandom. They demonstrate that this incomparable musician continues to move us in very different ways, even 250 years after his birth.LUDWIG VAN BEETHOVEN (1770-1827) is the most-often heard classical composer. Over the years of his gradually increasing deafness, which he first noticed at the age of thirty-one, he created his most famous works, including eight symphonies, his masterpiece Fidelio, and the music for Goethe's Egmont. PARTICIPATING ARTISTS John Baldessari, Jan Cossiers, Ayse Erkmen, Caspar David Friedrich, Francisco de Goya, Rebecca Horn, Idris Khan, Anselm Kiefer, Auguste Rodin, Tino Sehgal, J.M.W. Turner, Jorinde Voigt, Guido van der Werve

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BEETHOVEN
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Der österreichische Stummfilm BEETHOVEN, zum 100. Todestag des Komponisten 1927 entstanden, zeichnet die wichtigsten Stationen im Leben von Ludwig van Beethoven nach. Seine Vita verknüpft sich mit den bekanntesten Werken (2. Sinfonie, Eroica, 5. und 9. Sinfonie, Fidelio und Missa Solemnis). Fritz Kortner (1892-1970) in der Titelrolle zeichnet Beethoven als prometheische Lichtgestalt und Rebell, der die historischen Erschütterungen seiner Zeit in großen Sinfonien verarbeitet. Seine Musik bewegt auch so, weil in ihr die Tragik nachklingt, die sein Leben überschattet.Die neue Musikfassung von Malte Giesen zitiert alle im Film genannten Beethoven-Werke und verarbeitet sie in origineller, zwischen Kintopp und Kunstmusik changierenden Bearbeitung für kleines Orchester. "Die Idee ist, aus Beethoven-Werken eine Art 'komponierte Interpretation' zu entwickeln, mit Techniken, die an die Ästhetik und Philosophie meiner Generation anknüpfen, wie Remix, Sampling, Shuffling, auch der Mix Orchester/Elektronik kommt hier zum Einsatz. So stelle ich mir die hypothetische Frage: wie hätte Beethoven komponiert, wenn es schon Elektronik gegeben hätte?"BEETHOVEN erscheint in der vom Filmarchiv Austria restaurierten Fassung.*BeethovenÖsterreich 1927, 71 MinutenHD-s/w-restaurierte Fassung*RegieHans Otto LöwensteinDrehbuchEmil KolbergKameraViktor GluckFritz Kortner (Beethoven), Lillian Gray (Giulietta Guicciardi), Ernst Baumeister (Joseph Haydn), Wilhelm Schmieder (Fürst Lichnowsky), Dely Drexler (Therese v. Brunswick) u.v.a.Restaurierung (2019)Filmarchiv AustriaMusik (2020)Malte Giesen (i.A. von ZDF/ARTE)KlavierFabio MartinoDirigent Aurélien BelloRedaktionNina GoslarProduzentThomas Schmölz (2eleven music film)KoproduktionThüringen Philharmonie Gotha-Eisenach, Kulturamt der Stadt Eisenach, ZDF in Zusammenarbeit mit ARTEDas ProjektDer österreichische Stummfilm BEETHOVEN entstand 1926/27 zum 100. Todestag des Komponisten in Wien. Mit Fritz Kortner in der Titelrolle zeichnet der Film die wichtigsten Stationen in Beethovens Leben nach. Die neue Musik von Malte Giesen (*1988) zitiert alle im Film genannten Werke und verarbeitet sie in einer originellen, zwischen Kintopp und Kunstmusik changierenden Bearbeitung für kleines Orchester. Zum Film und seinen FassungenMit dem großartigen Charakterschauspieler Fritz Kortner (1892-1970) in der Titelrolle zeichnet der Film die wichtigsten Stationen im Leben von Ludwig van Beethoven nach und verknüpft seine Vita mit seinen großen Werken wie der 2. Sinfonie, Eroica, 5. und 9. Sinfonie, Fidelio und Missa Solemnis. Der Film wurde anlässlich des 100. Todestages des Komponisten (26.03.1927) produziert und ist ein schönes Beispiel früher medialer Verwertung populärer Künstlerbiographien. Er entstand im Sommer 1926 in den Listo-Film-Ateliers in Wien-Schönbrunn und erlebte am 18. Februar 1927 seine Kino-Premiere. Als eine besondere Qualität stellte die zeitgenössische österreichische Presse heraus, dass der Film an Original-Schauplätzen entstand, womit nur das Schloss Schönbrunn gemeint sein kann.Die filmische Erzählung beginnt mit Beethovens Kindheit in Bonn und seinem Musikstudium bei Joseph Haydn in Wien. Im weiteren Verlauf zeichnet sie das Bild eines produktiven Komponisten, der zeit seines Lebens in unglücklichen Liebesgeschichten verfangen ist. Vor allem die Begegnung mit Giulietta Guiccardi, die als wenig talentierte Klavierschülerin den Komponisten halb in den Wahnsinn treibt, wird im Film ausführlich geschildert, hier baut der Film eine reine Kino-Fiktion auf. Als konstanter Förderer tritt hingegen, wie es der Realbiographie entspricht, der Musik-Mäzen Fürst Lichnowsky auf. Großen Raum nimmt die Schilderung seines fatalen Gehörleidens ein, das Beethoven im Alter von 28 Jahren ereilt und das ihn in eine schwere persönliche Krise

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Fidelio
17,87 € *
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Beethoven’s only opera Fidelio never ceases to fascinate audiences with its spellbinding story of true love. Staged by renowned opera director Jürgen Flimm this production is the outstanding result of the teamwork of the orchestra and chorus of the Zurich opera with a cast of magnificent singer-actors. Finnish soprano Camilla Nylund in the title role presents a wonderful portrayal of the opposing characters of the loving wife, Leonore, and her alter ego, the young man Fidelio. Jonas Kaufmann who has lately gained international fame is her counterpart Florestan – the attractive tenor plays a convincing suffering prisoner, brought back to life by marital love. László Polgár is the jailer, torn between greed and sympathy and Alfred Muff takes on the sinister Don Pizarro to complete the setting.Under the musical direction of Nikolaus Harnoncourt, this production became a highly memorable event. The Austrian conductor is universally celebrated for the structural transparency of his interpretations, his intellectual penetration and his emotional understanding of both music and opera plot. He once called this opera “a hymn of praise to marital love”. Although the work has a long tradition of being interpreted in political terms portraying oppression and liberation, imprisonment and freedom, Harnoncourt is adamant that, for Beethoven, these topics were only a means to an end: “What he was concerned about is love. The real action is between Leonora and Florestan. Essentially, the work is about what can be achieved by true love and the fact that a loving wife is ready to do anything for her husband.”

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Gluck: Alceste [Video]
19,51 € *
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The Vienna version of Alceste was Gluck’s second reform opera after Orfeo ed Euridice. The libretto and music revolve around a self-sacrificing main character, and it is quite probable that the courageous bearing of Empress Maria Theresia while mourning her husband who had died in 1765 provided Gluck with the impetus for working on this old-fashioned material. Alceste demonstrated the virtues typical of the 18th century, being like Beethoven’s subsequent Fidelio purely an anthem to conjugal love. As Orfeo before it, Alceste did not achieve major success at the first performance of the Vienna version, which took place at the Vienna Burgtheater on 26 December 1767, but instead became famous nine years later in Paris where it was performed as a tragédie opéra after the addition of ballet music in French (opera text by Marie-François-Louis Grand-Leblanc du Roullet). This production from 2006 was acclaimed as the Opera Production of the Year, by the German magazine OPERNWELT. The title roll is given by Catherine Naglestad, who became the Female Opera Singer of the Year 2006.

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FIDELIO - BEETHOVEN (Felsenstein)
17,52 € *
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Walter Felsenstein (1901–1975), founder and general director of the Komische Oper in Berlin, was one of the twentieth century’s greatest creative theatre directors, who played a hugely important role in the revival of opera as a theatrical art form. A brilliant artist who directed over 190 productions during the course of his career, he was equally committed to the works, their creators, the ensemble and the audience.When Walter Felsenstein is offered to shoot an adaptation of the story about Fidelio/Leonore in the early fifties, he accepts. Together with Hanns Eisler, he develops a whole new version of the story by changing, cutting out and rearranging parts of the text. The overture is incorporated into the filmic adaptation and tells the prelude of the story. In doing this, Felsenstein uses the medium in a whole new way. The music is not only there to accompany the images, Fidelio is not meant to be an operatic film but a musical film. However, the project is weighed down with difficulties from the very beginning, as it is temporarily uncertain as to how the project should be financed. Although the finished film provokes some fierce political controversy, it is a success among the public. Looking back sixteen years later, Felsenstein commented: “It is the only music film I have ever made – even though it had its faults. The other films were basically stage performances adapted and arranged for the cinema. They were intended to document Felsenstein productions at the Komische Oper and were modified to make them suitable for filming, but were still based on theatrical productions. My only real music film was Fidelio.”“Arthaus’s scholarly and imposing ‘Walter Felsenstein Edition’ offers a fascinating glimpse of an important moment in operatic history now vanished.” The New York Times

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Interpretation of Beethoven's Fidelio or Leonor...
10,99 € *
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Research Paper (undergraduate) from the year 2010 in the subject Sociology - Media, Art, Music, The University of Malaya, language: English, abstract: Written with librettist, Joseph von Sonnleithner, Beethoven's first version was divided into three acts in the style of a German Singspiel. In a singspiel, a fresh start has to be made after every spoken interruption. Fidelio was first performed on November 20, 1805 after being delayed due to issues with the censors. The opera opened to a small audience and negative reviews.A year later Beethoven attempted a revision of Fidelio for the same theatre. Due to a change in management Beethoven was presented with a new librettist by the name of Stephan von Breuning. After a great deal of struggle, a very reluctant Beethoven agreed to a much more condensed and concise version of the opera. The newly revised version was performed on May 29, 1806. Again the audience was not Beethoven's ideal audience and the show failed once again.After reading a refined libretto by Georg Friedrich Treitschke, Beethoven agreed the revival but insisted on a complete revision in which he virtually started over. Nearly every number was altered in some fashion. The third and final version of the opera opened with great success on May 23, 1814.It took Beethoven over a decade to complete his only opera. Throughout the many revisions he produced four different overtures. The first, now known as Leonore #2 was written for the opera's premiere in 1805. Because some sections proved to be too difficult Beethoven began reworking the overture for the opera's revival in 1806. The new version became known as Leonore #3. Beethoven's final revision composed for the 1814.Production was called the Fidelio Overture. After his death a fourth overture was found. Entitled Leonore #1 it is believed he either wrote it first or for a production of Fidelio in Prague that never happened. Leonore #3 is often played between the two scenes in Act 2. However, many critics such as Henry W. Simon consider this practice to be "abhorrently inartistic" due to the dramatic nature of the piece.

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Yannus Sufandi
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Yannus Sufandi (born 2 January 1980) is an Indonesian-born Australian actor and choreographer. Born in Java, Indonesia, Yannus grew up in Australia. His credits as a Choreographer include So You Think You Can Dance" Australia and Malaysia Season 1 and Season 2, guest judge and presenter for the TV show One Million Dollar Dance Battle on MTV Taiwan, the Nickelodeon Kids Choice Awards Australia, ACN Australian Flash Mob, and Raymond Weil. His acting credits include Fidelio, Aida, Lady Mcbeth of Mtsensk, Tales of Hoffman, Julius Caesar, Turandot and Madama Butterfly Opera - all performed at the Sydney Opera House. Sufandi has performed with touring productions such as Rumba 2002 Australian Tour and Martell VSOP Malaysian Tour 2002 and 2004, and Vietnamese Pop singers Australian tour 2009. Sufandi has performed live on stage for televised productions such as the Aria Awards (Australian Music Awards) 2002/2004, Urban Music Awards and OZ Music Awards. He has performed in support acts and promotional tours for 2001-02 Destiny''s Child Australian Tour, Black Eyed Peas Promo Tour, Pharrel Promo Tour, Fatman Scoop and Mis-Teeq Promo Tour.

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