2023-05-08 18:23:00
Ioan Holender is asking for a brainstorming session on Wednesday in the broadcasting center on the subject: original language versus understandable translation.
Rossini in German? A shame!” An outraged music lover once exclaimed when the curtain rose on the premiere of Günter Rennert’s long-lived production of The Barber of Seville. None other than Fritz Wunderlich sang Count Almaviva, Karl Böhm conducted and the audience was amused.
At that time, basic linguistic considerations had long been considered clarified. When the Vienna State Opera reopened in 1955, Verdi’s “Aida” was still sung in German under Rafael Kubelik. Herbert von Karajan cleared that up two years later. International stars should be able to sing their roles in the original language everywhere. The era of house ensembles was over.
Only in the Slavic repertoire did people hesitate. “Eugen Onegin” was still sung in German in the 1970s, “Jenufa” even into the new millennium. In the case of “Rusalka” it was only considered during the rehearsal work – because all the main actors really spoke Czech.
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