Main cтраница Main cтраница
Main cтраница
Main cтраница
Main cтраница

Main cтраница
Main cтраница Main cтраница Main cтраница Main cтраница

Rihard Strauss / Rihard Strauss (a part III)

the Following opera, "¦ыхъ=Ёющ" Strauss approaches to an expressionism even more close, specifying a way on which Alban Berg in work on an opera "-юччхъ" will go;. The playwright G.Gofmanstal, long-term creative colleague Strauss, has processed tragedy of Sofokla "¦ыхъ=Ёр" for modern theatre. Almost without changes this play is set to music and forms an one-act opera. And again the hall is excited by a plot, music, ethical idea of product though action concerns a far epoch of Trojan war and occurs in far Mycenae. The rights there was one of the critics, written that "Ррыюьх " and "¦ыхъ=Ёр" can be named by symphonic poems with singing - so the orchestra role in these operas is great.

After so gloomy operas, as "Ррыюьх " and "¦ыхъ=Ёр" for Rihardom Strauss the glory of the composer especially inclined to especially tragical plots is established. A premiere of an opera "-ртрыхЁ Ёюч№" has denied this opinion and has led to thought on extraordinary many-sided nature of talent of Strauss. A scene of action "-ртрыхЁр Ёюч№" - Vienna, time - 40 - 80th years of a XVIII-th century. G.Gofmanstalja's charming libretto has something in common with dramatic art motsartovskih operas "Ртрфіср ИшурЁю" and "-юэ-гѕрэ". And in music "-ртрыхЁр Ёюч№" charm, ease, the fun, captivating us in Mozart's operas reign.

... The Countess a background of Vendenberg with grief notices that time imposes on it ruthless traces of withering. It is still charming, but near to Oktavianom Rofrano, the young beloved, it does not maintain comparison. Unexpected occurrence of the distant relative, baron Oksa, forces the countess to change clothes instantly Oktaviana for a dress and to give out for the lady's maid. A baron is going to marry, and on custom somebody from worthy young men should hand over to the bride a silver rose. The countess agrees to help a baron and offers for a role of the messenger "эхъюхую" Oktaviana, the medallion with which portrait shows to a baron. That is amazed by its similarity to the lady's maid, but... Suspects nothing. The meeting of Oktaviana and Sofia, the daughter of a rich nobleman, is not limited to rose delivery. Having passed many cheerful peripetias and tests, "ъртрыхЁ Ёюч№" Oktaviai becomes the husband of Sofia; the old lady's man and the hunter behind a rich dowry of Oks is exposed; The countess, fighting back tears, reconciles, understanding that the best is time to a life already behind, connects young pair hands.

Lyrics "-ртрыхЁр Ёюч№" it is easy and melodious, in it Strauss as though comes back to elements of singing and immerses characters in the captivating sound atmosphere reminding waltzes of its great Viennese namesake.

For many years G the background of Gofmanstal becomes Strauss's constant librettist. The presented stylist, it skilfully combines in the libretto the lines inherent in classical dramatic art, with requirements of modern theatre. For statement molerovskogo "¦хЁрэшэр in фтюЁ эё=тх" Gofmanstal has composed an interlude "+Ёшрфэр on -ръёюёх". Left Tezeem the heroine of an antique myth became under a feather of Gofmanstalja the character omuzykalennoj commedia dell ' arte. Having developed an interlude to scales of the opera libretto, the playwright has interested in it Strauss. So its opera "+Ёшрфэр on -ръёюёх" was born; (1912), calculated on chamber sonority and modest structure of an orchestra from 36 persons.

In search of the opera style, having grown cold and to monumentalism vagnerovskih operas and to heroes, erected on antique koturny Strauss comes to plots that virtuously fantastic, as in "гхэЁшэх without =хэш" (1917), to "ьхЁрэёъющ ъюьхфшш" - "Ђэ=хЁьхччю" (1923), to an antique myth about Danae which have neglected with enamoured Zevsom for the sake of fidelity to the drover of donkeys of Midasu ("-¦сюті -рэрш"; 1940). And if in "-ртрыхЁх Ёюч№" Strauss revives melodious ease arioznogo style, in "-¦стш -рэрш" treats voice parts in respect of large opera forms, in "Ђэ=хЁьхччю" he addresses to genre features of the recitative opera which plot is plentifully made comments by an orchestra, and the action overloaded with household details, it seems deliberately prosy. In the preface to an opera "Ђэ=хЁьхччю" addressing to young conductors with the arch "чюыю=№§ яЁртшы" Strauss writes: "-хфюё=р=юёэю if you knowing the text by heart, hear each word sung by the singer. Public should without efforts perceive the text. If she does not understand the text - it ёяш=".

Riharda Strauss's opera and symphonic heritage Is great - these genres entirely define its creative shape though and in chamber music - sonatas for a violin, a violoncello, the piano, in vocal cycles - is put many poetic thoughts. Throughout several decades in concert and theatrical practice natural selection in which result develops real shtrausovsky repertoire where by all means enter "-юэ-гѕрэ" is carried out; "Кшыі Лыхэ°яшухыі" "-юэ -ш§ю=" "РьхЁ=і and яЁюётх=ыхэшх" "Ррыюьх " "¦ыхъ=Ёр" "-ртрыхЁ Ёюч№". To this basic list at will of conductors, directors are added also other symphonic poems and operas.

Having begun with neo-romanticism positions, having seized phenomenal composer technics, Strauss throughout the long creative way is declined that to impressionistic ekspressionistskim to influences, but does it without jerks, without "ёцшурэш  ьюё=ют" without "ю=ёр ээ№§ яюшёъют". Confident skill affected in any manner selected it, and in some measure removed reproaches in eclecticism which in other case would be pertinent.

Rihard Strauss has passed The way during a rough epoch: he has endured ex-Prussian war and two world wars. But nothing was able instal in it uzkonatsionalisticheskie tendencies to that as the best proof the long-term friendship with Romenom Rollanom and a free choice of executed repertoire in black years of a Hitlerism can serve.

Strauss possessed amazing gift of musical eloquence in which basis there was a desire to interest listeners the narration about destinies of heroes. And the heroes which destiny is connected with antique Greece, with ancient Judea, with an epoch of the Middle Ages and a XVIII-th century, revived again on pages shtrausovskih scores. But whatever epoch Strauss concerned, it always remained first of all the composer of the XX-th century.

Excellent lived life last decades has gone on an unusual way. On an order of the ministry of Goebbels Strauss has been put at the head of Musical chamber, the establishment knowing a musical life of all country. But has not passed also two years as Strauss has resolutely refused to follow instructions of nazi propagation. It has risen in protection of the librettist, Jew Stefana Zweig; it, despite prohibition, conducted a concert from products of the French composer Polja Djuka who has died in 1935. And when war declined, in 1944 – 45 years, he has created one of last products – "¦х=рьюЁ¶юч№" for a string band and in it has quoted a mourning march from Beethoven's Heroic symphony; in "¦х=рьюЁ¶ючр§" Rihard Strauss deeply grieves over the wounds put by war to mankind, culture, the greatest values of art.

< we come back