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・ We Cellar Children
・ We Change the World, Vol. 1
・ We Charge Genocide
・ We Chase the Waves
・ We Cheer
・ We Cheer 2
・ We choose to go to the Moon
・ We Close Our Eyes
・ We Come 1
・ We Come as Friends
・ We Come from the Same Place
・ We Come in Peace with a Message of Love
・ We Come in Pieces
・ We Come Running
・ We Come Strapped
We Come to the River
・ We Con the World
・ We Connect
・ We Control
・ We Cool?
・ We Could
・ We Could Be Astronauts
・ We Could Be Astronauts (album)
・ We Could Be Kings
・ We Could Be So Good Together
・ We Could Be Sweet Lovers
・ We Could Be the Same
・ We Could Be Together
・ We Could Connect or We Could Not
・ We Couldn't Leave Dinah


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We Come to the River : ウィキペディア英語版
We Come to the River

''We Come to the River'' is an opera by Hans Werner Henze to an English libretto by Edward Bond. Henze and Bond described this work as "Actions for music", rather than an opera. It was Henze's 7th opera, written originally for the Royal Opera in London, and takes as its focus the horrors of war. The opera was first performed at the Royal Opera House, Covent Garden, London on 12 July 1976, with the composer as producer, Jürgen Henze as director, and David Atherton conducting. It was subsequently staged in Berlin, and received its first American performance at Santa Fe Opera in 1984, conducted by Dennis Russell Davies.〔(Bernard Holland, "Henze's ''River'' Performed in Santa Fe". ''New York Times'', 3 August 1984. )〕〔(Michael Walsh, "Brutality and Bathos in Santa Fe". ''Time'', 13 August 1984 (one word in on-line title is misspelled). )〕
The opera is notable for its complex staging, including a large cast of 111 roles covered by over 50 singers, with doubling of roles〔Robert Henderson, "Hans Werner Henze" ''The Musical Times'', 117(1601), 566-568 (1976).〕 and three separate instrumental ensembles, including a percussionist who actually performs among the singers on stage. The scholar Robert Hatten has noted the mix of musical styles that Henze has employed, ranging from 'atonal to neoclassically tonal'.〔Hatten 1990, 293.〕 Although the subject matter of war would usually indicate a realistic treatment, Henze calls for three separate stages, and urges producers to avoid realism in the costuming. The Emperor's role is written for a mezzo soprano voice - thus the abstract Emperor becomes the embodiment of evil. The use of typically romantic coloraturas for the role of Rachel is another device to remove a character from realism into abstraction - in this case, the sycophantic nature of Rachel. Despite the vast forces required to perform the work, Henze asks for the utmost simplicity in production values.〔preface to the score of ''We Come to the River'', Schott〕
==Performance history==

Following its premiere at The Royal Opera House, Covent Garden in 1976, and later that same year in the Deutsche Oper Berlin, the opera was given in 1977 at the Staatsoper Köln and the Staatsoper Stuttgart. After some years, it was presented by The Santa Fe Opera in 1984, by the Hamburg Opera in 2001, and recently by Semperoper in Dresden in 2012.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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