After that, she translated Émile Zola's Au bonheur des dames (Ladies Delight, 1957), the correspondence between Romain Rolland and Richard Strauss, and some recent French novels.
# Strauss - Also Sprach Zarathustra - Public Domain – 0:55
The first track, "Thus Cacked Henrietta", is a rendition of Richard Strauss' "Also Sprach Zarathustra", performed in chicken clucks.
# "2001 Theme" (Richard Strauss) – 1:05
In the 19th century Lixouri was a popular tourist destination; Richard Strauss visited the town.
Known for her red hair and exuberant vivacity, her most famous role was that of Salome, which she performed under the composer, Richard Strauss, himself in 1944 on his 80th birthday.
Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras.
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Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, ISBN 0-86547-664-0.
The title track is a rock arrangement of Richard Strauss's Also Sprach Zarathustra.
Richard Strauss once said of himself "I am not a composer of the first rate, but I am a splendid composer of the second".
Richard Nixon | Richard Wagner | Richard Strauss | Richard Branson | Cliff Richard | Richard Gere | Richard Burton | Richard Hammond | Richard | Richard Dawkins | Little Richard | Levi Strauss & Co. | Richard Feynman | Richard Attenborough | Johann Strauss II | Richard M. Daley | Richard I of England | Richard Thompson | Richard Francis Burton | Richard Thompson (musician) | Richard Pryor | Richard Linklater | Richard III of England | Richard Petty | Strauss | Richard II | Richard II of England | Richard E. Byrd | Maurice Richard Arena | Muhal Richard Abrams |
Alma claims that Mahler intensely disliked Richard Strauss's opera 'Feuersnot', that he 'had a horror of the work', and avoided conducting it.
With the Australian pianist Victor Sangiorgio, he has toured with a two-man show called "Life after Fawlty", which included Richard Strauss's voice and piano setting of Alfred, Lord Tennyson's poem "Enoch Arden".
Other performances during this period included the soprano solo parts in Bach's Mass in B minor, Handel's Messiah and Brahms' A German Requiem, and solo recitals for the BBC Third Programme including Handel's Lusinghe piu care and Richard Strauss's Ständchen.
After winning several singing competitions in 1957 along with a Rockefeller Award, Voketaitis made his professional opera debut as Vanuzzi in Richard Strauss's Die schweigsame Frau at the New York City Opera (NYCO) in 1958.
The chamber music of Borodin, Respighi, Saint-Saëns, the piano trios of Richard Strauss, the chamber music of the Terezin Composers, Joseph Rheinberger, Eric Zeisel, Max Bruch, Willem Pijper, Zdenek Fibich, Glazunov, Edmund Rubbra, Luigi Cherubini, Wilhelm Stenhammar are among the subjects which appeared in past issues.
The theatre has also seen many international artists including Franz Liszt, Sarah Bernhardt, Franz Lehár, Richard Strauss, Gerard Philipe, Vivien Leigh, Laurence Olivier, Jean-Louis Barrault, Peter Brook, Mario del Monaco, José Carreras.
His final and 316th performance at the Met was as the Hairdresser in Richard Strauss's Der Rosenkavalier on January 12, 1980 with Agnes Baltsa as Octavian, Anna Tomowa-Sintow as the Marschallin, and Judith Blegen as Sophie.
Her final appearance at the SFO was in October 1955 as Sophie in Richard Strauss's Der Rosenkavalier with Elisabeth Schwarzkopf as the Marschallin and Frances Bible as Octavian.
Besides Kodály and Strawinsky, Roth especially promoted the composers Béla Bartók and Richard Strauss.
She sang more than 100 parts, covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini, Strauss, Schreker and Krenek.
Among the composers who set his poetry to music are Schubert, Robert and Clara Schumann, Brahms, Josef Rheinberger, Mahler (song cycles Kindertotenlieder, Rückert-Lieder), Max Reger, Richard Strauss, Zemlinsky, Hindemith, Bartók, Berg, Hugo Wolf and Heinrich Kaspar Schmid.
From 1905 through 1912 Astruc brought a long list of musical giants to Paris under the banner "Great Season of Paris", including an Italian season with Enrico Caruso and Australian soprano Nellie Melba in 1905, the creation of Salome under the baton of Richard Strauss in 1907, the Ballets Russes of Diaghilev in 1909, the Metropolitan Opera conducted by Arturo Toscanini in 1910, and the Le martyre de Saint Sébastien of Debussy by Gabriele D'Annunzio in 1911.
Georges Sébastian (Budapest, August 17, 1903 – April 12, 1989, La Hauteville) was a French conductor of Hungarian birth, particularly associated with Wagner and the post-romantic repertory (Bruckner, Mahler, Richard Strauss).
Unger's other Salzburg Festival roles included Monostatos in two different stagings of The Magic Flute (1967, 1968 and 1970, staged by Oscar Fritz Schuh and conducted by Wolfgang Sawallisch; 1974 staged by Strehler and conducted by Karajan, and Valzacchi in Richard Strauss' Der Rosenkavalier (1969, staged by Rudolf Hartmann, designed by Teo Otto, and conducted by Karl Böhm).
Hans Knappertsbusch (12 March 1888 – 25 October 1965) was a German conductor, best known for his performances of the music of Richard Wagner, Anton Bruckner and Richard Strauss.
She is noted for her performance of Elsa in Wagner's Lohengrin, the title role in Strauss's Arabella, Ellen Orford in Britten's Peter Grimes, and the Governess in Britten's The Turn of the Screw.
In the German repertoire he had roles in Pfitzner's Palestrina and Das Herz; Schultze's Schwarzer Peter; Eugen d'Albert's Tiefland, Goetze's Widerspenstigen Zähmung, Jokanaan in Richard Strauss's Salome, and others.
Salome, opera by Richard Strauss, based on a German translation (by Hedwig Lachmann, grandmother of Mike Nichols) of the play by Oscar Wilde.
Composition of In Nomines lapsed in the eighteenth century but was revived in the twentieth century, an early notable example being Richard Strauss's opera Die schweigsame Frau, which quotes a keyboard In nomine by John Bull.
In opera she sang some of the most demanding roles in the coloratura Fach, e.g. Zerbinetta in Richard Strauss' Ariadne auf Naxos, Violetta in Verdi's La traviata, Zaide in Mozart's Zaide and the already mentioned Queen of the Night in The Magic Flute.
In 1889 Richard Strauss made a new arrangement of the work for the publisher Adolph Fürstner, which was later staged in Weimar at the Hoftheater on 9 June 1900, under the Goethe-inspired title of Iphigenie auf Tauris.
Josephslegende (The Legend of Joseph) Op. 63, is a ballet in one act for the Ballets Russes based on the story of Potiphar's Wife, with a libretto by Hofmannsthal and Kessler and music by Richard Strauss.
Before long, she was performing all over Europe and America, sharing the stage with such notable composers, conductors and singers as Edvard Grieg, Richard Strauss, Camille Saint-Saëns, Enrico Caruso, Otto Klemperer, Willem Mengelberg, Pablo Casals, Percy Grainger, Enrique Granados and Thomas Beecham.
Roles she sang in the studio (such as the Empress in Strauss' Die Frau ohne Schatten) or in concert (such as Leonore in Beethoven's Fidelio, and Fidelia in Giacomo Puccini's Edgar) are not included.
Patzak appeared in a number of operatic premieres, notably Richard Strauss's Friedenstag, Carl Orff's Der Mond and Gottfried von Einem's Dantons Tod.
In 1903, with financial support from the patron François Franck, Mortelmans founded the Maatschappij der Nieuwe Concerten ("Society of New Concerts") in Antwerp, which attracted notable guest conductors and artists such as Gustav Mahler, Siegfried Wagner, Hans Richter, Richard Strauss, Sergei Rachmaninoff, Pablo de Sarasate, Jacques Thibaud, Pablo Casals, and Fritz Kreisler.
Significant LBO productions during Milenski's tenure included Powder Her Face by Thomas Adès, Richard Strauss’ Elektra (which was televised in Germany), Janáček's From the House of the Dead, The Beaumarchais Trilogy and the complete operas of Claudio Monteverdi.
She created the roles of Blanchefleur in Kienzl's opera Der Kuhreigen (1911), Ariadne in Strauss's Ariadne auf Naxos (1912), the Empress in his Die Frau ohne Schatten (1919), and Marie/Marietta in Korngold's Die tote Stadt (1920), which was also the role in which she debuted at the Metropolitan Opera on November 19, 1921.
Among other recordings are the Grieg Concerto in A minor and Richard Strauss Burleske in D minor with the London Philharmonia and Jean-Bernard Pommier, a "live" recording of the Schumann Concerto at the Vienna Festival with the Wiener Symphoniker and Eliahu Inbal, songs by Chausson with Jessye Norman and two recitals with Barbara Hendricks.
Notable examples of the orchestral song cycle in Germany and Austria include Richard Strauss' Vier letzte Lieder and several cycles by Gustav Mahler: Das Lied von der Erde, Des Knaben Wundernhorn; Lieder eines fahrenden Gesellen; and Kindertotenlieder.
The orchestra subsequently worked with guest conductors, including the composers Manuel de Falla, Alexander Glazunov, Richard Strauss, Igor Stravinsky, Ottorino Respighi, and Pietro Mascagni, but with no principal conductor or music director.
Examples may be found in Claude Debussy's "Prélude à l'après-midi d'un faune" (1894), Maurice Ravel's Daphnis and Chloë Suite No. 2 (1913), Richard Strauss's Elektra (1909), Arnold Schoenberg's Pierrot Lunaire, "Columbine" (1914), and William Schuman's Three Score Set for Piano (1944).
As a composer, Clapp followed firmly in the line of Romantic and Impressionist works created by Wagner, Mahler, Strauss, anbd Debussy (Holcomb and Meckna 2001), as well as perhaps Liszt, and others, but adding his own distinctly American style and ideas about orchestration.
In the rich performing history of the orchestra one can find major musical pieces, such as Prokofiev's Ivan Grozny and Alexander Nevsky, Stravinsky's Oedipus, Petrushka, and The Rite of Spring, Richard Strauss's Also sprach Zarathustra, Carl Orff's Carmina Burana, etc.
Though overshadowed by the more famous conductors of his time, he nevertheless achieved many notable performances, especially of works by Mozart, Wagner, Strauss, Pfitzner.
Sieglinde Wagner had a very wide repertoire, including Clairon in Richard Strauss's Capriccio, Annina in Der Rosenkavalier, Magdalena in Die Meistersinger von Nürnberg, Fenena in Nabucco, the mother in Hansel and Gretel and Mary in The Flying Dutchman.
He also directed famous theatrical opera like Il marito disperato by Cimarosa and Fidelio by Beethoven for the San Carlo Opera House in Naples and Boris Godunov by Modest Mussorgsky at the Teatro São Carlos in Lisbon, where in 2003 he also staged Ariadne auf Naxos by Richard Strauss.