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From gruesome tale to Christmas tradition, follow Hansel und Gretel on their journey into the woods and onto the opera stage...
“We must at least keep the fee secret,” wrote Verdi in June 1870, about his latest project: Aida.
Strauss’s opera Salome scandalized the musical world in 1905—and again in May 1906, when, as Ross vividly describes, the Austrian premiere in Graz drew together an astonishing array of musical luminaries, from Mahler to Schoenberg to Puccini. “Like a flash of lightning,” Ross writes, “it illuminated a musical world on the verge of traumatic change. Past and future were colliding; centuries were passing in the night.”
Benjamin Britten was born on November 22, 1913—St Cecilia’s Day, the patron saint of music—in Lowestoft, Suffolk, overlooking the English east coast. Music and the English coast were the forces that would shape his life. These twin influences were combined in perhaps the most profound way a full century after Britten’s birth.
There are relatively few shoemakers with their own entry in The New Grove Dictionary of Music and Musicians, the standard reference work for classical music. But Hans Sachs was no ordinary shoemaker.
It’s a strange thought that the farcical Figaro would be followed up with an opera in which the protagonist—a compulsive womanizer, as well as a murderer—literally descends to hell, leaving behind a smattering of his victims to try and rebuild their shattered lives.
Vincenzo Bellini was just 33 years old when he died of dysentery in a Parisian suburb on September 23, 1835: younger than Chopin (39), Bizet (37) or even Mozart (35) at the time of their deaths...