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This Act Iact hinges on hidden identities that are known to the audience. (Wagner uses this situation in operas that are not part of the Ring: in the operas bearing their respective names, Parsifal does not know his own name, and his son Lohengrin is forbidden to reveal his.) The program tells even the first-time viewer the names of the characters, and, from his leitmotif and his covering his missing eye with his hat, the "stranger" or "old man" (described but not seen on stage) and Wotan, Wolfe, and the Wanderer who will appear in Siegfried can be recognized as one and the same individual. Siegmund (whose name means "victory protector or shield") and Sieglinde (meaning "gentle victory") each withhold their own names until the act's climax. (It would appear that, unlike Parsifal, Siegmund does know his own name, though he will not be the first to utter it.)
During a raging storm, Siegmund seeks shelter at the house of the warrior Hunding. Hunding is not present, and Siegmund is greeted by Sieglinde, Hunding's unhappy wife. Siegmund tells her that he is fleeing from enemies. After taking a drink of mead, he moves to leave, claiming to be cursed by misfortune. However, Sieglinde bids him to stay, saying that he can bring no misfortune to the "house where ill-luck lives."
Returning, Hunding reluctantly offers Siegmund the hospitality demanded by custom. Sieglinde, who is increasingly fascinated with the visitor, urges him to tell his tale. Siegmund describes returning home with his father one day, to find his mother dead and his twin sister abducted. He then wandered with his father, until he parted from him as well. One day, he found a girl being forced into marriage and fought with the girl's relatives. However, his weapons were broken and the bride was killed, and he was forced to flee to Hunding's home. Initially, Siegmund does not reveal his name, choosing to call himself 'Woeful'.
When Siegmund finishes, Hunding reveals that he is one of Siegmund's pursuers. He grants Siegmund a night's stay, but they are to do battle in the morning. Hunding leaves the room with Sieglinde, ignoring his wife's distress. Siegmund laments his misfortune, recalling his father's promise that he would find a sword when he most needed it. Sieglinde returns, having drugged Hunding's drink to send him into a deep sleep. She reveals that she was forced into a marriage with Hunding.
During their wedding feast, an old man had appeared and plunged a sword into the trunk of the ash tree in the center of the room, which Hunding and his companions had all failed to remove. She expresses her longing for the hero who could draw the sword and save her. Siegmund expresses his love for her, which she reciprocates, and she begins to grope for where she recognizes him from, and then realizes she recalls his voice and that they resemble each other. When she learns from him the name of his father, Wälse, she tells him that his name is Siegmund, and that the Wanderer left the sword for him.
Siegmund now easily draws the sword forth, and she tells him her own name, Sieglinde, and that they are siblings. He gives the blade the name "Nothung" (or needful, which evokes the dire need for a weapon against Hunding, that it will fill for him). He and Sieglinde flee together from Hunding's house.
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Parsifal, figure of Arthurian legend also known as Sir Percivale, who is in turn a later form of a hero of Celtic myth. The name originally occurs as Pryderi, an alternative name of Gwry in Pwyll Prince of Dyved, a tale in the Mabinogion. Gwry is the original of Gawain, and in the later Percivale stories Gawain appears, often fulfilling the same role as the hero.
The great feature of the Percivale cycle is the Holy Grail, and Welsh sources connect this sacred talisman with Percivale, who finds the Grail. Chrétien de Troyes is the author of the first great artistic treatment of the theme; in Chrétien's unfinished poem Percivale finds the Grail at the Fisher King's castle and heals the king. The Parzival of Wolfram von Eschenbach is one of the greatest medieval poems. Drawn largely from Chrétien, von Eschenbach's story is highly spiritualized and appears essentially in the form used by Richard Wagner in his music drama Parsifal. In the Morte d'Arthur of Sir Thomas Malory, Percivale is admitted to the Grail with Galahad and Bors.
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Götterdämmerung? ("Twilight of the Gods") is the last of the four operas that comprise Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. It received its premiere at the Bayreuth Festspielhaus on 17 August 1876, as part of the first complete performance of the Ring.
The title is a translation into German of the Old Norse phrase Ragnarök, which in Norse mythology refers to a prophesied war of the gods which brings about the end of the world. However, as with the rest of the Ring, Wagner's account of this apocalypse diverges significantly from his Old Norse sources.
The term Götterdämmerung is occasionally used in English, referring to a disastrous conclusion of events.
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Siegfried is the third of the four operas that comprise Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner.
It received its premiere at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of the Ring.
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Das Rheingold introduces a primeval collection of gods, nymphs, giants, and dwarves who instigate the situations inherited by Wotan's children, the humans Siegmund and Sieglinde, and the Valkyrie, Brünnhilde. It is a brief glimpse of an Edenic world, already beginning to be corrupted by greed and lust for power. Musically, Das Rheingold introduces many of the motives associated with objects and ideas of importance in the drama. Among these are the Rheingold, the Ring, Walhall, Wotan's spear, and the renunciation of love. Das Rheingold also introduces Wagner's huge Ring orchestra, its versatility, and at times, Wagner's sheer audacity with sound.
At one astonishing moment in the transition to Scene Three, the orchestra falls silent, leaving the enslaved Nibelungs' forging rhythm to ring out on 18 tuned anvils. Rheingold requires six harps for its conclusion, accompanying the forlorn cries of the betrayed Rhine Daughters. The extraordinary prelude, which is in essence the prelude to the entire cycle, should also be mentioned. The first sound the listener hears is a low E flat, played on the double basses, which seems to appear out of nowhere. This single thread of sound slowly becomes a remarkable extension of the single key of E flat, layering arpeggio upon arpeggio and figuration upon figuration, adding different orchestral voices with their different colors to suggest the growth of a mighty river from its source to an overwhelming torrent.
Wagner wrote in his autobiography that the sound came to him in a trancelike state in which he felt almost drowned. Although there is no evidence to contradict this account, Wagner often used fanciful accounts of unmediated inspiration to explain his compositions. Against Wagner's wishes, Das Rheingold was premiered in 1869 for Wagner's patron, King Ludwig II, in Munich. Wagner had intended to introduce the complete cycle at his new Festival Theater in Bayreuth, and neither the work nor the opera house had yet been completed. Ludwig did not want to wait to hear the completed operas.
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Die Csardas Furstin (1915 Johann Strauss)
The Csardasfrstin ", 1915 in the First World War, is as peppy as involved love story between the Prince Edwin and celebrated chansonette Sylva varescu.
Because it is a operetta, despite everything patentanwlte differences a happy end to expect, and until it is the audience to immortal tunes like "without women, the chose not" and "make WIRs the petrels.
Budapest and Vienna shortly before the out break of the First World War. At a Budapest music hall the young Count Edwin falls in love with the famous cafe singer Syiva Varoscu but a relationship is unthinkable for reasons of social position until it is discovered that Edwin's own marriage and Edwins father must drop his objection to their Union. Arguably Kaimans most successful work. Sung in German with English surtitles.
Performance Info
22nd & 23rd November 2008 @ 7pm
2nd, 3rd, 4th & 5th December @ 7pm
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Sylvester Lvay's and Michael Kunze's genuine, hysterical, brilliant musical has arrived to Budapest after tours in Vienna and Hamburg - and expectations have been more than fulfilled! A hit! A huge hit!
The Mozart boom at the end of the 20th century, which discovered the composer's remarkable, eccentric, unpredictable and rebellious personality, has produced several great works of art. The best of these are the film and the stage versions of Amadeus, and Levay's Mozart!
The story is based on a completely novel approach to the hero, presenting him almost as a young man of today. He cannot tolerate his father's dominance, the archbishop's terror, the city's intrigues, and the bourgeois plots, and while struggling with the external world, there is no peace inside him either as his genius is torturing him, nearly putting him in the stocks.
It is an interesting, animated, very modern and very human story about a young man who cannot and will not adapt to the world's boring schemes, and who is called Mozart!
Performance Info
19th & 21st November 2008 @ 7pm
20th November @ 6pm
16th & 17th December 2008 @ 7pm
Running Time: 3 hours 5 minutes with 1 interval
Customers must exchange their voucher at the box office at least 30 minutes prior to the performance.
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Premiere of the world's very first klezmer musical in the Operetta Theatre! To the best of our knowledge this is the first klezmer musical ever produced.
It is set in a Romanian-Hungarian-Jewish village in Transylvania. Andrs Brny, son of a well-to-do farmer, is holding his bachelor's party before marrying the poor but beautiful Rzsi Patks. However, it turns out that the orphaned Rzsi does not possess the documents required for the marriage ceremony.
At the suggestion of old Mrs.Majzik, local notary Comsa turns to the Kolozsvr Orphans home for more information. Here it transpires that Rzsi is not in fact the Patks' daughter by birth but was adopted by them. Her real father is the late mill owner Salamon Blum, her mother Regina Weisz who was seduced by Blum and died soon after giving birth. In short, Rzsi, who until now was believed to be Christian, is in fact Jewish!
Shunned by her former friends, the despondent Rzsi is taken in by the philosophically-minded Jewish innkeeper Uncle Herskovics. There she finds a new home and starts studying her new faith.
Performance Info
17th November 2008 @ 5pm
18th January 2009 @ 7pm
Running Time: 2 hours 50 minutes with 1 interval.
Customers must exchange their voucher at the box office at least 30 minutes prior to the performance.
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Bajor - Oszvald - Verebes! What more could you ask for?! These three are the rock solid guarantee of marvellous theatrical entertainment for all.
Being one of the most successful Hungarian operettas, Mike the Magnate is time and again played both in music and drama theatres. Its popularity is partly due to the satirical and amusing story, and partly to the superb evergreen songs written by Albert Szirmai and Andor Gbor. Who knows a woman's heart", I wish to be happy" and What a nasty world" have certainly become operetta hits.
The operetta was originally written for Mrton Rtkai and Sri Fedk, a legendary Hungarian duo of stage artists. Therefore, theatres should only come out with a new production if the roles of Miska and Marcsa are played by absolute celebrities. It is perhaps the only operetta that has a comical character in the leading role. Miska, a quick-witted stable-boy with a heavy non-U accent, turns into a sophisticated aristocrat in a matter of minutes. His hefty partner, Marcsa becomes a Frenchy" dame, who is introduced to the upper-class world as Countess Mary.
All this happens because the standoffish family would not allow Baracs, a farm bailiff to marry their daughter Countess Rolla. Thank goodness that a kleptomaniac grandmother, not caring about such prejudices, takes side with the young couple, and the story unfolds into a merry finale.
Performance Info
10th & 11th January 2009 @ 7pm
Running Time: 3 hours with 1 interval.
Customers must exchange their voucher at the box office at least 30 minutes prior to the performance.
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The first world musical at the Budapest Operetta Theatre. Szakcsi, MP Szimi and KERO's A Midsummer Night's Dream is about the encounter of the spirit world, humans, horizontal and vertical worlds - an encounter we are all keen on, based on Shakespeare's classic naturally.
The idea for the musical adaptation of one of the world's best known plays was born at the Budapest Operetta Theatre. The director Gbor Mikls Kernyi wrote the book with the lyrics writer Pter Mller Szimi to be joined by one of the most outstanding artists of Hungarian jazz, Bla Szakcsi Lakatos. The Kossuth and Liszt Award winning pianist is at home in jazz, classical music and world music - which was the basis for him to create this genre-setting piece with his co-authors.
The Szeged Open Air Festival is co-producer of the world premiere, which creates a new genre, world musical. The original work is a piece of world theatre, so it was only logical for Bla Szakcsi Lakatos to include music of all nations from all around the world. A Midsummer Night's Dream mixes jazz and classical music, as well as music from Spain, Turkey, Romania, India and gypsy music - with very contemporary texts indeed.
In the center of the piece are the well-known characters.The play is set in the forest of dreams and love and on the opening with humans and invisible spirits destined to meet here. This is where they are all preparing for the big wedding of Theseus, the wealthy supplier, the Great Barrow, who picked this place for his daughter and the Police Chief's only son, Demetrius to get married on midsummer night. This is where the invisible fairies and their great king Oberon and his quarrelling wife Titania come with their servant Puck and his pals...
There in the shadow of the crying-music playing moon is here and so are the butterflies raising their wings, the flaming fires, the fiery flowers, the flying sticks and wedding pans and ass heads, the threads are mixed, the real lovers elope and Puck drops magical potion to the eyes of fairies and humans, and only he can entangle the chaos again Beyond the lovers' mixup and the fights for power in KERO's production the cataclysms of our planet's going under also flares up. Nevertheless, by the end of the show Titania and Oberon, king and queen of the spirits face an interesting choice of how to go on with their lives.
Performance Info
13th, 14th & 15th November 2008 @ 7pm
9th, 10th & 11th December 2008 @ 7pm
2nd, 3rd & 4th January 2009 @ 7pm
Running Time: 3 hours with 1 interval
Customers must exchange their voucher at the box office at least 30 minutes prior to the performance.
Tickets from: £41.00 to £41.00
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One of the biggest successes of last seasons remains on the programme! If you want to see this fantastically spectacular performance, it would be worth thinking about booking well in advance!
Refined French taste has always set the trend in gastronomy, fashion and design, as well as in culture and the arts. In recent years this influence has reached musical theatre too. The musical has been enriched with new colours and tastes in the studios of Paris. The cult of beauty, playfulness and sentimentality has imbued and brought new life to the stagnat-ing Anglo-Saxon genre; in place of a special treat for a narrow, theatre-going stratum it has been transformed into a commu-nity event.
The musicals Notre Dame de Paris and more recently Romeo and Juliet have been seen by great numbers in long production runs in the Palais des Sports seating thousands or the Palais des Congrs. Everyone is familiar with the story of the musical based on Shakespeare's play.
In the words of Gerard Presgurvic, the composer and