Page 392 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 392
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
1919 Braunfels Die Vögel Aristophanes/Braunfels
1918 C. F. Ramuz
1924 Stravinsky The Soldier’s Tale Euripides/Szymanowski
1927 – L’histoire du soldat / Jarosław Iwaszkiewicz
1928 Sophocles/Cocteau/Daniélou
1928 Szymanowski King Roger Henri Hoppenot
1930 Henri Hoppenot
1930 Stravinsky Oedipus Rex The Bible
1932 Euripides
Milhaud L’abandon d’Ariane Euripides/Wellesz
Milhaud La délivrance de Thésée
Osterc Saloma
Osterc Medea
Wellesz Die Bakchantinnen
The third of Osterc’s minute operas, Dandin v vicah (‘Dandin in Pur-
gatory’), is a fantasy, based on the play by Molière called Georges Dandin
ou le Mari confondu (‘Georges Dandin or the Confounded Husband’) in
which, by marrying a woman of higher station than himself, a man causes
problems for himself. Some of the character of the plot of Schönberg’s Von
Heute auf Morgen of 1928 was carried over into Dandin’s situation, but we
have no evidence that Osterc was aware of this work.
The idea of the “minute opera” was one of a number of fashions in the
1920s (see Table 9). While discussing the whole French musical scene in
the 1920s, James Harding relates a discussion between Hindemith and Mil-
haud.47 Because Milhaud had been very active and successful in the compo-
sition of a number of operas, he was thought to be a suitable person to invite
to write a new opera. Hindemith’s instructions were something like: “Write
an opera and make it as short as possible.” Harding continues: “The reac-
tion against Wagner and his long, excessively long epics was in full swing”.
“Hindemith’s own Hin und Zurück took precisely fourteen minutes to per-
form.48 Milhaud [...] broke all records with an opera called L’enlèvement
d’Europe (‘The Abduction of Europa’). It was nine minutes long.” Encour-
aged by his publisher to make a programme of suitable length, he added
two more operas derived from Greek myths, a favourite source for opera
47 James Harding, The Ox on the Roof (London: Macdonald, 1972), 185–86.
48 Ian Kemp points to some interesting features of Hin und Zurück in Hindemith (Lon-
don: Oxford University Press, 1970), 21
390
1919 Braunfels Die Vögel Aristophanes/Braunfels
1918 C. F. Ramuz
1924 Stravinsky The Soldier’s Tale Euripides/Szymanowski
1927 – L’histoire du soldat / Jarosław Iwaszkiewicz
1928 Sophocles/Cocteau/Daniélou
1928 Szymanowski King Roger Henri Hoppenot
1930 Henri Hoppenot
1930 Stravinsky Oedipus Rex The Bible
1932 Euripides
Milhaud L’abandon d’Ariane Euripides/Wellesz
Milhaud La délivrance de Thésée
Osterc Saloma
Osterc Medea
Wellesz Die Bakchantinnen
The third of Osterc’s minute operas, Dandin v vicah (‘Dandin in Pur-
gatory’), is a fantasy, based on the play by Molière called Georges Dandin
ou le Mari confondu (‘Georges Dandin or the Confounded Husband’) in
which, by marrying a woman of higher station than himself, a man causes
problems for himself. Some of the character of the plot of Schönberg’s Von
Heute auf Morgen of 1928 was carried over into Dandin’s situation, but we
have no evidence that Osterc was aware of this work.
The idea of the “minute opera” was one of a number of fashions in the
1920s (see Table 9). While discussing the whole French musical scene in
the 1920s, James Harding relates a discussion between Hindemith and Mil-
haud.47 Because Milhaud had been very active and successful in the compo-
sition of a number of operas, he was thought to be a suitable person to invite
to write a new opera. Hindemith’s instructions were something like: “Write
an opera and make it as short as possible.” Harding continues: “The reac-
tion against Wagner and his long, excessively long epics was in full swing”.
“Hindemith’s own Hin und Zurück took precisely fourteen minutes to per-
form.48 Milhaud [...] broke all records with an opera called L’enlèvement
d’Europe (‘The Abduction of Europa’). It was nine minutes long.” Encour-
aged by his publisher to make a programme of suitable length, he added
two more operas derived from Greek myths, a favourite source for opera
47 James Harding, The Ox on the Roof (London: Macdonald, 1972), 185–86.
48 Ian Kemp points to some interesting features of Hin und Zurück in Hindemith (Lon-
don: Oxford University Press, 1970), 21
390
