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Nirgends describes a fictional meeting between the writers Heinrich von Kleist and Karoline von Gnderrode, who reevaluate literary history before killing themselves, paralleling a reevaluation of GDR literary heritage. Christoph Hein's Horns Ende utilizes a ghost resembling that of Hamlet's father to instigate subversive memory of fascism and Stalinism. Parents: This work has no parents. Tweet Share. Master's Papers Deposit your masters paper, project or other capstone work. Scholarly Articles and Book Chapters Deposit a peer-reviewed article or book chapter.

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A comparative study of particles and prefixes. Cambridge: Cambridge University Press, , pp. In: Constructions all the way everywhere. The extending scope of Construction Grammar. Geert Booij: The grammar of words. An introduction to morphology. Geert Booij: Allomorphy and the architecture of grammar. Geert Booij: Morphology in CxG. Geert Booij: Morpheme structure constraints. In: The Blackwell Companion to Phonology. Geert Booij: Compound construction: schemas or analogy?

A Construction Morphology perspective. In: Cross-disciplinary issues in compounding. Boubia, Prof. Rabat: Marsam, , pp. Breithaupt, Prof. Brown, Prof. Chicago: MCM', , pp. In: nonsite. Chiluwa, Prof. Frankfurt: Peter Lang, , pp. In: Pragmatics and Society John Benjamins. Innocent Chiluwa: Language in the News: mediating sociopolitical crises in Nigeria. Innocent Eberechi Chiluwa: Language in the News. New York: Nova Science, , pp. Innocent Chiluwa: Text messaging in social protests. In: Encyclopedia of Mobile Phone Behavior vol.

Innocent Chiluwa: Email Fraud. In: Revista Clina. In: Journal of Multicultural Discourses Routledge. In: Communication and the Public Sage. In: Pragmatics and Society. Innocent Chiluwa: The discourse of terror threats: assessing online written threats by Nigerian terrorist groups. Innocent Chiluwa ed.

New York: Nova Science Publishers, , pp. New York: Nova Science Publishers, , p. In: Encyclopedia of Information Science and Technology, 4th edition. Mehdi Khosrow-Pour ed. Innocent Chiluwa: A nation divided against itself: Biafra and the conflicting online protest discourses. Innocent Chiluwa, E. Assessing types and features of scam emails. In: Deception, fake news and misinformation online.

Samoilenko eds. Hershey, PA. Analyzing the discourse structures of scam emails. Tony Docan-Morgan ed. London : Palgrave-Macmillan , , p. Clahsen, Prof. In: Second Language Research. Gunnar Jacob, Elisabeth Fleischhauer, Harald Clahsen: Stem allomorphy and affixation in morphological processing: A cross-modal priming study with late bilinguals. In: Bilingualism: Language and Cognition. In: Journal of Child Language. In: Language Acquisition.

In: Developmental Cognitive Neuroscience. Harald Clahsen, Sabrina Gerth, Vera Heyer, Esther Schott: Morphology constrains native and non-native word formation in different ways: Evidence from plurals inside compounds. Vera Heyer, Harald Clahsen: Late bilinguals see a scan in scanner AND in scandal: Dissecting formal overlap from morphological priming in the processing of derived words. In: Studies in Second Language Acquisition. In: Linguistic Approaches to Bilingualism. Harald Clahsen: Experimental studies of morphology and morphological processing. In: The Cambridge Handbook of Morphology.

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Harald Clahsen: Contributions of linguistic typology to psycholinguistics. Michaela Mosca, Harald Clahsen: Examining language switching in bilinguals: The role of preparation time. Harald Clahsen, Jana Reifegerste: Morphological processing in old-age bilinguals. Jana Reifegerste, Harald Clahsen: Accessing morphosyntactic information is preserved at old age, except for irregulars.

In: Linguistische Berichte. Kaili Clackson, Harald Clahsen: Online processing of cataphoric pronouns by children and adults: Evidence from eye-movements during listening. Martin J. Harald Clahsen, Yu Ikemoto: The mental representation of derived words. Elisabeth Fleischhauer, Harald Clahsen: Generating inflected word forms in real time: Evaluating the role of age, frequency, and working memory.

Biller, E. Chung, A. Kimball Somerville: Cascadilla Press, , p. Stavroula Stavrakaki, Konstantinos Koutsandreas, Harald Clahsen: The perfective past tense in Greek children with specific language impairment. In: Spektrum Patholinguistik-Band 6. Tom Fritzsche, Corinna B. Alina Leminen, Harald Clahsen: Brain potentials to inflected adjectives: Beyond storage and decomposition. In: Brain Research. In: Acquisition of Romance Languages.

Lausanne: Frontiers Media, , [morphology, derivation, inflection, compound, L2, dyslexia, semantics, decomposition]. Coignard, Prof. Costa, Prof. Etnoscienza e geolinguistica. Alessandria: Edizioni dell'orso, , pp. Gabriele Costa: Apollo, Cicno e il tempio delle teste tagliate: cornici metalinguistiche della coscienza iniziatica. In: Lo sciamanismo come artefatto culturale e sinopia letteraria.

Alvaro Barbieri Verona: Edizioni Fiorini, , p. Gabriele Costa: Il rammentatore di leggi nel diritto greco, germanico, romano, iranico e indiano antico: ricordare, tramandare, forse scrivere. In: Rivista di Diritto Ellenico. In: Ainigma e Griphos. Coupe, Prof. Alexander R. Coupe, S. Lestrade: Non-structural case marking in Tibeto-Burman and artificial languages. In: Linguistic Discovery. Coupe: On the diachronic origins of converbs in Tibeto-Burman and beyond. Coupe: Mongsen Ao.

In: The Sino-Tibetan languages, 2nd edn.. Graham Thurgood, Randy J. LaPolla Oxford: Routledge, , p. Coupe: Grammaticalization processes in South Asian languages. In: Grammaticalization from a typological perspective. Csuri, Prof. Bielefeld: Aisthesis Verlag, , pp. Culicover, Prof. Peter W. Culicover, Elizabeth Hume. Peter Culicover: Simpler Syntax.

Dardano, Prof. Jose L. In: Investigationes Anatolicae. Paola Dardano: La veste della sera: echi di fraseologia indoeuropea in un rituale ittito-luvio. Studi dedicati al Padre Werner R. Mayer S. In: Acts of the 7th International Congress of Hittitology. Riflessioni sul lat. In: Res Antiquae. In: Centro mediterraneo preclassico. Studi e ricerche. III, , p. Dini, Prof.

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Berlin: Walter de Gruyter GmbH, , pp. Egurtzegi Martinez, Dr. In: Phonology. In: Linguistics. In: Diachronica. Egya, Prof. Lagos: ANA, , p. VI, , p. James T. In: African Literature Today. In: Research in African Literatures. In: Journal of Commonwealth Literature. Ibadan: Kraft Books, , pp. Olayemi Akinwunmi, J. Ayuba, Adoyi Onoja, M. Filaba and C. In: Gege: Ogun Studies in English.

Idris O. Amali, Adebayo A. In: Commonwealth Essays and Studies. In: English in Africa. In: Ibadan Journal of European Studies. In: Journal of Postcolonial Writing. In: African Affairs. Pretoria: Unisa Press, , pp. Kolawole Gboyega, Sule E. In: Lapai Journal of Humanities. In: Wilberforce Island Review. In: Journal of African Cultural Studies. Ibadan: SevHage, , pp. Sule Emmanuel Egya: Makwala. Lagos: Paressia Publishers, , pp. In: Journal of the African Literature Association. Engelstein, Prof. Evans, Prof. Nicholas Evans: Wenn Sprachen sterben und was wir mit ihnen verlieren.

Beck oHG, , pp. Nicholas Evans: Did language evolve in multilingual settings?. In: Biology and Philosophy. Nicholas Evans: Sprachensterben. Corina Caduff Berlin: Kadmos Verlag, , p. Honolulu: University of Hawai'i Press, In: Recirculating songs: revitalising the singing practices of Indigenous Australia. Nicholas Evans: Quantification in Nen. In: Handbook of Quantifiers in Natural Language. Nicholas Evans: Polysynthesis in Dalabon. In: The Oxford Handbook of Polysynthesis. Nicholas Evans: Polysythesis in Northern Australia. Nicholas Evans: Ngurrahmalkwonawoniyan. Listening here. In: Humanities Australia.

Bill Palmer Berlin: Walter de Gruyter, , p. In: Something About Emus. In: Language and Cognition. Oxford: Oxford University Press, Nicholas Evans: As intimate as it gets: paradigm borrowing in Marrku and its implications for the emergence of mixed languages.

Nicholas Evans: Born, signed and named: naming, country and social change among the Bentinck Islanders. Nicholas Evans: Typology and coevolutionary linguistics. In: Journal of the International Phonetic Association. Nicholas Evans: Australian Languages. In: Serious Science. Amsterdam: John Benjamins, In: Insubordination. Nicholas Evans: Valency in Nen. Nicholas Evans: Inflection in Nen. In: The Oxford Handbook of Inflection.

Nicholas Evans: Positional verbs in Nen. In: Oceanic Linguistics. Nicholas Evans, R. Mailhammer trans. Und was wir mit ihnenverlieren. Munchen: Wiley-Blackwell, , pp. Original author: Nicholas Evans German. Joseph Bulbulia, Armin W. Geertz, Quentin D. Gray, Joseph Henrich, Fiona M. Jordon, Ara Norenzayan, Peter J. Wilson: The Cultural Evolution of Religion. Peter J. Levinson, Andrea Baronchelli, Morten H. Nicholas Evans: The diversity of languages as a resource for studying cultural evolution.

Nicholas Evans: Instability in stability: therapeutic periphrasis in the Dalabon verbal prefix paradigm. Nicholas Evans: Some problems in the typology of quotation: a canonical approach. In: Canonical Morphology and Syntax. Corbett Oxford: Oxford University Press, , p. Nicholas Evans, Eva Fenwick: Marking vs. Indexing: revisiting the Nichols marking-locus typology.

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The verb lexicon and interdisciplinary fieldwork. Nicholas Evans: Even more diverse than we thought: the multiplicity of Trans-Fly languages. Language Documentation and Conservation Special Publication. Nicholas Evans: Nen assentives and the problem of dyadic parallelisms. In: Practical Theories and Empirical Practice. Facets of a complex interaction. Andrea C. Schalley Amsterdam: John Benjamins, , p. Nicholas Evans, Marian Klamer eds. In: Language Documentation and Conservation. Ferrand, Prof. Oxford: SVEC, , pp. Oxford: Studies on Voltaire and the 18th Century, , pp.

Nathalie Ferrand: Translating and illustrating the eighteenth century novel. Nathalie Ferrand: Transparences accrues. Nathalie Ferrand, Nicholas Cronk ed. Lectures et relectures. Louvain-Paris-Walpol: Peeters, , pp. Fortuna Weber, Prof. Etica e linguaggio tra filosofia e detective story. Milan: Mimesis, , pp. Authority, Knowledge, Subjectivity. Oxford: Legenda, , pp. In: Parole di donne. Francesca Maria Dovetto Milano: Aracne, , p. Garcia Manso, Dr. In: Brumal. In: Hispania. In: Estreno. In: Bulletin of Hispanic Studies.

Gehrmann, Prof. In: Tydskrif vir letterkunde. New York: Routledge, , pp. Susanne Gehrmann: Autobiographie und Photographie bei V. In: Stichproben. Gouaffo, Prof. Le cas du Cameroun. Gray, Prof. Hamid Tafazoli, Richard T. Gray Bielefeld: Aisthesis Verlag, , p. Sebald and Contemporary German Holocaust Fiction.

Grilli, Prof. Bellezza, genere, desiderio. Milano-Udine: Mimesis, , pp. Adone, Variazioni sul mito. Venezia: Marsilio, , pp. Gilbert vs. Adonis di William B. In: Rivista di Letterature Moderne e Comparate. Gilbert, Pygmalion and Galatea, William B. Gill, Adonis, Comparative literature, Comparative mythology, Classical tradition, Victorian theatre]. Il mito di Adone e la tradizione europea. Variazioni sul mito. Alessandro Grilli Venezia: Marsilio, , p. Alessandro Grilli: La legge del desiderio.

Soggetto e genere nei miti di Adone e Pigmalione. In: Maia. Alessandro Grilli: Dalla culla alla bara passando per il letto : la dinamica dei generi nel mito di Adone e Afrodite. In: Maschile e femminile: genere ed eros nel mondo greco. Mattia De Poli Padova: S. Hamlaoui, Dr.

Fatima Hamlaoui Dr. In: Lingua. Fatima Hamlaoui Sascha Coridun Prof. EDP Sciences.. Neveu, V. Muni Toke, P. Blumenthal, T. Klinger, P. Ligas, S. Marzena Zygis Jonas Engelmann Prof. Michael Wagner: Acoustic correlates of focus marking in Polish. Haven, Prof. Johannes W. In: Neophilologus. Hladnik, Prof. In: Sozialgeschichte und soziale Bewegungen in Slowenien. Forschungen und Forschungsberichte Iovino, Prof.

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Serenella Iovino: La Mente, el lugar, las historias. In: Literatura y sostenibilidad en la era del antropoceno. Reflections on Local Natures and Global Responsibilities. Amsterdam and New York: Rodopi, , p. Serenella Iovino: The Human Alien. Otherness, Humanism, and the Future of Ecocriticism. Serenella Iovino, Serpil Oppermann eds. Bloomington: Indiana University Press. Bringing ecocriticism closer to the material turn, the contributions to this landmark volume].

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Milano: LED, , p. Serenella Iovino: Pensare come una montagna. In: Tav No Tav. Le ragioni di una scelta. Mercalli e L. Trieste: Scienza Express Edizioni. In: Anglia: Journal of English Philology. Amberson, E. New York: Palgrave MacMillan, , p. Serenella Iovino: Un viaggio non sentimentale. Itinerari ecologici e narrativi nel paesaggio della Pianura Padana. In: Viaggiare: Percorsi e approdi di genti e saperi.. Bonato, E. Lusso, E. Serenella Iovino: Le voci di dentro e quelle di fuori. In: Teresa e le altre: Storie di donne nella Terra dei Fuochi.. Marco Armiero Milano: Jaca Book, , p.

In: Material Ecocriticism. The City Opera should put Emmeline in its permanent repertory. It is a model of its kind. Peter G. Davis, New York Magazine Have you ever heard of a contemporary opera where the audience stands up and cheers when the composer takes his bow? Heidi Waleson, Billboard Magazine. Ein Landarzt A Country Doctor Radio opera based on the novella by Franz Kafka Origin: Radio opera Stage version alternative version as Monodrama for baritone and orchestra revised stage version. Synopsis A country doctor is called to a patient. For the journey, a shadowy carriage unexpectedly awaits.

While Rosa the housemaid is being threatened by the coachman, the horses as if by magic sweep off with the doctor before he can come to the aid of his housemaid. The patient is a boy who does not appear to be ill, but is actually close to death. He has a palm-sized open wound in the region of his hip in which bloody worms are visible. The doctor cannot offer any help and is thus transformed into a patient himself. He wishes to return home swiftly, but the horses now walk extremely slowly at the pace of old men. Source: WDR. There is deception, self-deception, deceit and having been deceived, the fathomlessness and unreliability of everyday things, beginning with the most simple or banal and rising to the metaphysical and grotesque.

Das Ende einer Welt The End of a World Radio opera Opera buffa in two acts with prologue and epilogue Libretto by Wolfgang Hildesheimer Origin: Radio opera Stage version as opera buffa revised version of the radio opera. Sopran u. Synopsis The immensely rich Marchesa Montetristo has ordered an artificial island to be created in the lagoon near Venice, as she feels the mainland a threat to her mental equilibrium and she has found nothing suitable among the existing islands.

The highlight of the evening is the performance of a reputedly rediscovered flute sonata from the 18th century, actually a fake. The Marchesa herself accompanies the flautist Beranger on the harpsichord. During the concert, a tremor is felt through the palazzo: its fortifications have been washed away by the sea, but the musical performance continues regardless.

It is not the world itself which is sinking, but a particular world which is minutely and accurately depicted and it is this world which infuriates us as it provokes unease and even horror. Synopsis The prima donna, the heroic actor and the young tenor Clemente are rehearsing for a performance of the mythical tale of Venus, Adonis and Mars which relates the love between the goddess Venus and the handsome youth Adonis.

This incurs the displeasure and jealousy of the god Mars and culminates in the death of Adonis who is attacked by a boar. Following initial resistance, a relationship between them develops, causing the heroic actor to be as outraged as was Mars at the sight of Venus and Adonis together. In the same moment as Adonis is killed by the boar, the heroic actor stabs Clemente. In death, Clemente and Adonis become one. Accompanied by shepherd song, Adonis is transported to the planet Venus.

Source: Bavarian State Opera Munich, season Venus and Adonis is a modern treatise on love: the love of two ageing persons for an adolescent boy, a youth. This begins with their tonal representation. Das Gespenst The Ghost Music theatre for children and adults in two acts and an intermission Libretto by the composer Origin: Synopsis Strange things are happening in an old, abandoned theatre: a small opera company has rented the theatre and is attempting to rehearse the fairy tale The Fisherman and his Wife when suddenly a ghost which happens to be lurking in the ancient walls creates a general disturbance, ultimately resulting in total confusion.

Harald Weiss effectively interlinks three levels in his opera: the unreal level of the theatre ghost, the prosaic level of the caricatured and exaggerated representatives of the town and the playful level of the theatre group which sees itself permanently confronted by the other two levels. Harald Weiss plays with the various levels which constantly interrupt and overlap each other, inevitably producing both comical and satirical moments. The bureaucracy of public authorities and everyday life in the theatre is lampooned in a play of words. For the world of the ghost, the composer employs synthesised sounds, voices and noises.

The whole auditorium is awash with sound. He had abused her mentally and physically for many years. In court however, the woman does not talk about this, and she is given a long prison sentence. I wanted the voice to be so everyday it would be banal: the language to be flat and ordinary. I wanted to contrast the heightened drama of such domestic violence with plain, unpoetic speech.

I was captivated with the idea that both the home and the prison were forms of incarceration for the battered wife. That there was no place she could be free. Jackie Kay, ENO programme, The texts are direct and unflinching, their language matter-of-fact; there is no attempt to lyricize what are brutal, appalling experiences. The kernels of lyricism that were studded through the general declamatory style of Greek now dominate his vocal writing; the lines for the mezzo-soprano move in smooth, grateful curves, supported on instrumental textures drawn from 16 players that shift and change colour with astonishing vividness.

Opera, July The opera explores the conflicts between high art and low art, gossip and pornography - through the prism of a crumbling, competitive marriage. Competitiveness entered their marriage as Mrs. Though Hopper is strongly identified with cityscapes of urban America and landscapes of Truro, Cape Cod, he also painted female nudes. He approached his nudes from a characteristically voyeuristic stance, treating the female body as a screen on which to project unconscious desires. For years, his only model was his wife. Pandered to and fawned upon by obsequious studios and frightened stars, she wielded great power and venom, eventually cooperating with the reactionary forces behind the blacklist.

Michael Duncan, Art in America. He maintains that he is the figure of Death who has come to Breugelland in order to wipe out the entire population and thereby also the whole of mankind with the aid of a comet that very day at midnight. The intoxicated people of Breugelland believe themselves to have already arrived in heaven, but it gradually becomes clear that life in heaven is identical to that on earth.

Everyone is still alive after all and only Nekrozar, the Grand Macabre, dies from grief that he has failed in his crusade. If he were Death himself, then Death is now dead, eternal life has begun and earth is at one with heaven: the Last Judgement has taken place. Le Grand Macabre is a unique masterpiece of absurdist opera and one of the few new works of the post-Britten era to establish itself firmly in the international repertoire, thanks to a score of dizzying pace and variety. The Sunday Times, March Synopsis Errors and confusion in a shimmering summer night: Oberon, the king of the fairies, and his queen Titania have fallen out with each other and are living apart but in the same forest near Athens.

The midsummer night becomes a labyrinth of encounters and emotions; in culmination, Oberon and Titania are confronted with utter chaos. Kirchner never breaks with tradition, but incorporates it consciously into his music. Synopsis A rehearsal of the opera Aida is in progress: due to large-scale cost reductions in the orchestral budget, only three musicians are available. The conductor has to direct from the keyboard or an electric piano. He lives off his income as a pianist in a coffee bar. There is only one counter tenor remaining in the ensemble, a leftover from the Baroque opera craze of the late 20th century.

In contrast, the directors are over-represented: following the amalgamation of the opera house and dramatic theatre, the directors of both houses are available. These are joined by a film director, as the funds for the opera are being financed by a parallel film production. The scene involving the death of Radames is currently in rehearsal and all three directors are attempting to work with the singer at the same time.

The singer breaks down under the pressure and simultaneously the operation of the entire opera house collapses. In essence, a death scene in which the actor dies and the actor of the actor dies while he is acting out death: the death of death. Opera dies - is in fact already dead. Jeremias Jeremiah Church opera in five scenes Libretto after the same-named play by Stefan Zweig, Adapted by the composer Origin: Michaelis Synopsis Jeremiah has a vision of the imminent fall of Jerusalem. The Assyrians surround the town. Zedekia leads his people into war. She hears the noise of battle close by and knows that Jerusalem is awaiting its downfall.

The crowd forces its way into the house and throws Jeremiah into a dung pit. Jerusalem has fallen and king Zedekia blinded. Petr Eben has fleshed out the original Old Testament texts into five expressive scenes, [ In effect, Jeremiah is an opera for baritone and choir. The protagonist finds an equal partner in the choir, which leaves the fallen Jerusalem at the end of the work to begin its everlasting pilgrimage.

Jan Panenka, Prague Orchestra: 1 auch Altfl. Only the youngest daughter, Cordelia, refuses to make the required profession of love and is banned from the kingdom. Edmund, the illegitimate son of Gloucester, convinces his father that Edgar, the legitimate heir, is planning to murder his father. Edgar is also banned. The old man, shunted off into hospital, becomes agitated: in his visions, he thinks he is bringing Goneril and Regan to court.

The old man continues to fantasise. Edgar acts out his revenge on Edmund in a duel. Edmund admits too late that he has issued instructions for Lear and Cordelia to be killed. Lear appears with the corpse of Cordelia in his arms and dies of despair. With these visions, the death struggle of the old man also comes to an end. Enthralled by the story, the nurse continues to read her book.

Only her laughter can be heard echoing from the stage This for me is the task of a contemporary theatre artist. Tadashi Suzuki; source: Munich Biennale Language: German a. Sirene [t. His identification with sufferers and unfortunates causes him to pin all his hopes on mankind, freed through revolution to regain moral strength. However it soon becomes obvious that mankind cannot keep pace with historical transformation, that Philistines will triumph anew and that thoughtlessness and indifference will reign.

For Mayakovsky, a fight begins which is initially fanned by hate, but is ultimately suffocated by resignation. Totentanz [Dance of the Death], the second part of the evening, goes beyond Mayakovsky; a confrontation with the phenomenon of death commences. The fate of individuals becomes lost within the context of human history.

The casualties of the wars of modern times alone are measured in millions, but what significance does the life or death of an individual possess? Source: Leipzig Opera An unorthodox commencement of the work on the last act depicting the death of the protagonist. Spontaneous concept of a large-scale, general operatic postlude: the perspective seen from the individual event of death to the billions of casualties of this world.

The long chronicle of the dead is read out followed by its increasing numbers and catastrophes recorded alongside the entire creatural behaviour; the choir declaims the names. In conclusion, the chronicle fades out with dates in the distant future and the opera disintegrates. Following the culmination of the dance of death, [I decided] to break off of the project which threatened to expand to excessive proportions.

Nothing has happened here for centuries and the townsfolk conduct their lives with extreme slowness, never raising their voices or taking risks. Into their midst comes the animated impetuous figure of Doctor Ox, a scientist and adventurer who offers to supply the town at his own expense with a modern street-lighting system. Ox is delighted and develops his gas to give it fighting potential. They fight, but meanwhile the dials and monitors in the empty lab have gone haywire. Yet, in the final closing duet, it is clear that nothing can ever be the same again. The Sunday Times Meyer Origin: I: Marimb.

I was fascinated by the idea of the Mongolian rider who, after his horse was killed by the Khan because he did not receive it as a present, fashioned a staff from the backbone of the animal, strings from its hair and a bow from its tail and attempted to reproduce the mournful cries of his beloved animal with his new instrument. It was soon clear that the violin must be the central instrument in Schimmelreiter and its singing melody would permeate the entire work and appear at both its opening and culmination.

In the brief scenes compressed in the manner of film collage sequences, the motifs are visible in concentrated form. Superstition and tradition influence daily life in the remote village and spiritual and material dependence characterise the relationships between the small number of figures involved. Frankfurter Rundschau, Schneewittchen Snow White Opera in five scenes, a prologue and an epilogue after Robert Walser Text compiled by the composer Origin: October Fantastic Mr.

Language: English Cast: Fantastic Mr. Synopsis A modern fable, Fantastic Mr. Fox is a story about good vs. With the help of the other creatures of the forest, Mr. Fox must outwit his enemies to keep his family safe. On the one hand the counterpoint of his ideas presents an intellectual challenge The certainties of his life break down during the play: his father throws him out of his home, his mother dies, his childhood sweetheart Anna falls in love with someone else, the people of the village mock him and abuse him every time he tries to assert himself.

In the end death is the only way he can escape and find peace: Albert hangs himself in the graveyard. BR 2 Kultur, January One sound spreads. It stretches out dazzlingly between strings, flutes and clarinets, cutting off all neighbouring sounds, trills, figures and phrases. A dense atmosphere develops especially in those moments when the unseen is manifested. January Synopsis A homeless woman in Central Park, carrying her new-born baby, finds herself surrounded by a chorus of characters habituating the park: painters, lovers, yuppie sun-bathers, a zookeeper, and a cop.

In desperation, she attempts to give her baby away to any of the unsuspecting strangers. He was extremely open to all the musical necessities and had a wonderful understanding of structure. The San Francisco Chronicle. Synopsis Five women have gathered in an American college town to spend a convivial evening over cocktails and supper. The hostess, a visiting professor from China, greets four friends: an alcoholic Classicist in love with one of her students; an opera singer devoted to her admiring audience; a young divinity student soon to take holy vows, and a doctor of alternative medicine who runs a fertility-abortion clinic.

A heated discourse ensues as, in five central scenes, each of these women lives out fears, desires, fantasies, or experiences associated with her views of love, with each scene set in a distinct fantasy landscape. The final scene returns to the dinner table where the women have been transformed not only by a few too many glasses of wine, but also by their experiences and exchanges.

The opera, which the authors refer to as a Mise en Scene, draws on a dual model. On a separate linear plane, Belladonna follows the sequence of events of the Easter passion. The final scene brings the action full circle with its recasting of the Resurrection. I have been given a superb libretto which calls for a music of subtle and supple flexibility as it responds to the spectrum of human passions contained therein.

Harvy Steimen, Music Bulletin Board. Like the lush summer of the Berkshires around them, their romance is shimmering and idyllic, but its consequences are harsh and real. Paulus knows his way around the stage: Summer, which has a libretto by Joan Vail Thorne, based on the novella by Edith Wharton, is the seventh of his eight operas.

His writing for the voice is streamlined and attractive, and if the score does have passages in the awkwardly angular style common in contemporary opera, that style is by far outpaced by straightforward, inviting lyricism. His orchestral writing is equally striking, not least because Mr. The string playing, in particular, was strikingly beautiful. But the blue bird finds its way back to the beautiful princess, although she is kept captive, and reinstates her faith in a wide and exciting world on the other side of the dungeon walls. He will now appear in the sky only for brief moments, before heading back into deep space.

His bluebird plumage, left behind, lends anybody who touches it the ability to understand foreign tongues and overcome hostility. Synopsis In Kantan, a young man drifting about and seeking a meaning to life takes shelter from a storm in a cottage where he finds a magic pillow. Falling asleep he dreams that he is an emperor in a magnificent palace. But as the dream turns to a nightmare, days and nights and the seasons of the year seem to go by faster and faster until the young man, horrified, rushes back to his bed to wake up.

He has now learned the futility of ambition: life is here and now. He goes back home. In Damask Drum, an old gardener falls in love with a beautiful Lady. He is tricked by two boys into believing that if he beats a drum at night, she will come to him. The old man beats it in vain, until he is so dejected that he drowns himself. In Un fair Exchange, an old blind man is persuaded by his young wife to go on an outing, to drink and dance and see the blossoms of spring.

They run into by a monkey-man, who has different plans for the young wife! He gives the old man his monkey and runs off with her. Fair exchange? The instrumentation of the small orchestra [ Alexander Goehr, Source: Theater Dortmund On the other hand, there is the story he tells to get rid of his depressions. The singing roles consist of vocalises - there is no text. Synopsis We have an old man a survivor of the Holocaust and a child. A timid exchange starts. The opera is based on the story of Momik in the book See Under Love by David Grossman and it deals with individual memories of the Holocaust and the continuing trauma, but also the release, which comes with passing on those memories to succeeding generations.

It basically deals with how we are able to handle traumatic experiences. First you react with resistance, anger and hardening like the old man in the piece. Chaya Czernowin. Harry Heegan 23 is a local hero - a soldier on leave from the Great War, and a renowned footballer. An only child, he lives with his parents both in their 60s , having grown up close to the girl next door, Susie.

In the flat above is a volatile young couple, Mrs Foran and her husband Teddy. The second act, a darkly expressionist vision of war, is cast for male voices boys and men only. In the second half of the opera, Harry is in a wheelchair, Teddy is blind and Jessie has deserted Harry for Barney. The final act, in which dance music plays almost continuously, brings the tragi-comedy to a poignant and moving conclusion, as Harry and Teddy set off to face the future.

Synopsis Gilgameh, king of Uruk, has enslaved his people. Neither man wins, but the clinch of the struggle turns into an embrace between friends. Gilgamesh sets out to kill the monster Chumbaba and Enkidu accompanies him. They forge a celestial bull to kill the hated Enkidu. Gilgamesh beats Chumbaba and the people praise the returning heroes. Ischtar sends out the bull after Enkidu. Gilgameh sets off on his travels to find the secret of eternal life. After much wandering he reaches the entrance to the underworld.

He dreams of Itnapischtim, the only survivor of the Flood: forgotten by the gods he has to endure the penalty of immortality. Gilgamesh now acknowledges the curse of eternal life: the meaning of life is life itself. Heavy brass sets the tone for the sound: tones which remind you of Rheingold and Siegfried. Orff, Stravinsky and Strauss also send their regards. Nevertheless Kirchner has not merely mixed his references, but has created an independent, forceful composition out of his historical and traditional sources.

His music seems to be modern but also mythological-archaic. Conventional scenic performances of the work are possible. Synopsis Wilhelm Busch, the German caricaturist, painter and poet wrote his satirical short story Geigenseppel around in Munich. At the country fair, the the playful and inebriated Geigenseppel indulges in a drunken reverie: he is a famous violinist, and his accompanist is none other than Franz Liszt.

He plays with great success in front of the society ladies, and he is not only rewarded with pure gold but has a rendezvous with a society belle. The Geigenseppel opts for a fast getaway. His music is entertaining, sometimes ironic and fanciful. Hannoversche Allgemeine Zeitung, Synopsis After a stay in Paris, Carlo Goldoni is spending his last evening before his departure for Venice. Suddenly the protagonists of his Trilogia della Villeggiatura Trilogy of Vacation come to him as real people.

Giacinta is in love with Guglielmo, but her father Filippo prefers Leonardo who is supposed to be wealthy. There is an exchange of words between Giacinta and Leonardo. After a lot of to-ing and fro-ing, the little company embarks. It becomes increasingly clear that both Giacinta and Vittoria are in love with Guglielmo. Giacinta professes her love for Guglielmo but in the same breath she tells him that she will marry Leonardo, because she wants to keep her word to her father.

Guglielmo goes off with Vittoria. The characters distance themselves more and more from their creator Goldoni. It also becomes obvious that Leonardo is deeply in debt and that the marriage between Leonardo and Giacinta is a sham. What remains is alienation and disillusionment. The 12 cello parts are concertante. Synopsis The opera opens with the maid La Poncia complaining about her tyrannical mistress, Bernarda, who is returning with her five daughters from the funeral of her second husband.

She orders eight years of sorrow, during which her daughters have to live isolated from society. However, La Poncia has observed that Pepe not only visits his bride Angustias at her window but also Adela, the youngest of the five sisters. The atmosphere in the house is unbearably tense. Martirio confesses that she is also in love with Pepe; she betrays Adela to Bernarda. Bernarda drives Pepe out of the barn, where he was waiting for Adela, with a rifle shot. This piece leaves no member of its audience unmoved. Synopsis Jakob von Gunten, a boy of unknown origin, arrives at the Benjamenta Institute, a school for servants presided over by the brother and sister Benjamenta.

At the same time, the pupils introduce themselves. From the beginning Jakob claims certain privileges. The school days would be very boring, if Mr. But can he trust him? Lisa, Mr. Rivalry develops: Benjamenta and Lisa alternately try to win over Jakob. Meanwhile, one by one the other pupils leave the institute. Lisa, thwarted and exhausted, dies and with her ends the whole institution. Benjamenta forces Jakob to decide about his life. This is not sleek music, [ Der Bund, As a punishment Ahasvar is condemned to wander the world without home or purpose until the Day of Judgement.

The story of the wanderer became a central and recurrent myth, most famously in Goethe and Heine, and of course in Wagner. Whereas the romantic idea of redemption is in the foreground in Wagner, in Kirchner the theme is political. Merely a number, completely deprived of his individuality, he joins the anonymous mass of human fellow-sufferers.

The chorus singers play different roles in all scenes. We first see him as a young man fully in command with a bright future. This haunting and disturbing tale speaks forcefully to us in any age. After the opening scene set in the 19th century, we then find Stephen, a young academic of today whose research is based on the discovery and transcription of the diaries of a 19th century Russian hermit, and who is persuaded to sell the fruits of his research to the film industry. The search for truth which has occupied both Stepan and Stephen has provided no answers, only darkness and silence: perhaps this is the final lie.

The Times 9. Death Knocks One act opera based on the play of the same name by Woody Allen for mezzo soprano, baritone and chamber ensemble German translation by Esther Ferrier Origin: Language: English German. Synopsis New York, somewhere in Manhattan. The city is pulsating in the heat as Nat Ackermann, a successful garment manufacturer, makes himself comfortable for the evening. While he reads the paper suddenly an attractive but quite confused woman falls right through his window into his living room.

The lady starts to doubt whether she did everything right. Maybe she mixed up addresses, because this is her first commission?