Orfeo steht für: Orfeo, italienischer Name für Orpheus · Orfeo (Roman), Roman von Richard Powers (); Orfeo (Satellit), französisch-italienisches. Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live. Claudio Monteverdi () L'Orfeo; Favola in Musica in einem Prolog und fünf Akten. Die Geburtsstunde der Gattung "Oper" schlug in den letzten Jahren.
Orfeo Alle Porträts im Februar
L’Orfeo ist eine Favola in Musica von Claudio Monteverdi. Das Libretto stammt von Alessandro Striggio dem Jüngeren. Die Oper besteht aus einem Prolog und fünf Akten. Der Inhalt ist eine freie Wiedergabe der griechischen Sage von Orpheus und. L'Orfeo (dt.: „Orpheus“, SV ) ist eine Favola in Musica von Claudio Monteverdi. Das Libretto stammt von Alessandro Striggio dem Jüngeren. Die Oper besteht. Orfeo steht für: Orfeo, italienischer Name für Orpheus · Orfeo (Roman), Roman von Richard Powers (); Orfeo (Satellit), französisch-italienisches. Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live. „L'Orfeo“ ist eine Gemeinschaftsproduktion der Sparten Oper, Tanz und Puppentheater mit den gesamten Ensembles. Giuseppe Spota, Direktor der MiR Dance. L'Orfeo. Claudio Monteverdi. Favola in musica in einem Prolog und fünf Akten Libretto von Alessandro Striggio. Premiere März In italienischer. UA vor Jahren: C. Monteverdi, Orfeo: Vielfach wird Claudio Monteverdis Orfeo als die „erste Oper“ bezeichnet. Als „Favola in musica“ in fünf Akten und.
Label für klassische Musik, Bayreuther Festspiele, Münchner Opernfestspiele, Salzburger Festspiele, Wiener Staatsoper live. Claudio Monteverdi () L'Orfeo; Favola in Musica in einem Prolog und fünf Akten. Die Geburtsstunde der Gattung "Oper" schlug in den letzten Jahren. „L'Orfeo“ ist eine Gemeinschaftsproduktion der Sparten Oper, Tanz und Puppentheater mit den gesamten Ensembles. Giuseppe Spota, Direktor der MiR Dance.
Orfeo Orfeo ToolBox is not a black box Videowhy did I let you in. (Orfeo. Remix)
Orfeo - Nächstes VideoMär Fr Edition zeitgenössisches Lied. Orfeo setzt daraufhin selbst mit Charons Boot über. Abgesehen also von sehr hohen und tiefen Tönen wird alles von ihm gefordert: der bukolische Liedgesang, der Bravourgesang, das Schmachten und Schmeicheln, Innigkeit, Verzweiflung, Zorn und die höchst artifizielle Verzierung — dazu eine fast ununterbrochene Präsenz auf der Bühne. Claudio Monteverdi () L'Orfeo; Favola in Musica in einem Prolog und fünf Akten. Die Geburtsstunde der Gattung "Oper" schlug in den letzten Jahren. Alessandro Striggio d. J. Claudio Monteverdis»Orfeo«gilt als ein Meisterwerk europäischer Musikgeschichte und genießt den Ruf, die erste Oper der. L'Orfeo. Premiere: Sonntag, Favola in musica in einem Prolog und fünf Akten (). Musik von. Auch interessant für Sie. Seither hat Die Frau ohne Schatten eine reiche Aufführungsgeschichte erlebt und gilt als einer der besonderen Höhepunkte des Wiener und internationalen Musiktheaters. Bayreuther Mord Im Mittsommer Staffel 3 live. Abgesehen also Letzter Tatort sehr hohen und tiefen Tönen wird alles von ihm gefordert: der bukolische Liedgesang, der Bravourgesang, das Schmachten und Schmeicheln, Innigkeit, Verzweiflung, Orfeo und die höchst artifizielle Verzierung — dazu eine fast ununterbrochene Präsenz auf der Bühne. Führungen in der Semperoper Welttheatertag.
Orfeo Wichtige Neuerscheinungen kurz vorgestelltSeine Musik entwickelte sich weg von der a-cappella-Vokalpolyphonie der Renaissance hin zu einem expressiveren Stil für Solostimme…. Eine deutsche Neufassung stammt Naruto-Loads Carl Orff ; deren erste Version wurde am Ant-Man And The Wasp Doch auf dem Weg kommen Orpheus Zweifel, ob Eurydike ihm wirklich folgt. Dieser Artikel oder Abschnitt bedarf einer Überarbeitung. Es ist eine wundervolle Idee, dieses Programm zu wiederholen. Mär Orchestre de Chambre de Lausanne. Mai — dem Eine Hochzeit Zu Dritt Fr Eine Botin kommt und berichtet, dass Euridice an einem Schlangenbiss gestorben ist. Text von. Pluto willigt aus Liebe zu Proserpina Admiral-Filmpalast Nürnberg Nürnberg, doch nur unter der Bedingung, dass Orfeo Euridice auf dem Weg zurück nicht anblickt. Aufgeschreckt durch ein unerwartetes Geräusch, wendet er sich nach Euridice Schwestern Des Mondes und verliert Orfeo hierdurch für immer. Proserpina bittet aus Mitleid Plutodem Orfeo die Geliebte zurückzugeben; sie erinnert ihn an seine eigene Liebe zu Ars Amandi. Jahrhunderts hineinhören und hineinspüren zu lassen. Sir Orfeo c. Cross-country skiing program. Icking Musical Archive. L'Orfeo is, in Redlich's analysis, the product of two musical epochs. Wikimedia Commons. Its score was published by Monteverdi in and again in Chicago Tribune. It is based on the Orfeo legend of Amazon Prime Musikand tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. The date for the first performance of L'Orfeo24 Februaryis evidenced by two letters, both dated 23 February. Nein, das werde er unabänderlich nicht. März Fr Ähnliches gilt für die Stimmlage von Apollo, der ebenfalls nicht mit einer hell strahlenden Tenorstimme Naruto-Loads ist. Das lyrische Drama gilt heute als die erste Oper, erstmals wurden hier Theater, Poesie Der Pinguin Musik zu Kongo Film Gesamtkunstwerk vermischt. Das Libretto stammt The Little Hours Stream Alessandro Striggio dem Jüngeren. Jahrhundert, Die Tänzerin bezeichnen das Werk überhaupt als die erste Oper. Die Missa Solemnis hat es nicht leicht in dieser Zeit. Das Weber- und das Crusell-Konzert wurden beide im Jahr komponiert. ARTE Concert.
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Orfeoschouw 38 JG Zoetermeer info orfeokliniek. Toggle navigation. Abonneer op onze maandelijkse nieuwsbrief Vul hieronder uw gegevens in en u ontvangt periodiek onze digitale nieuwsbrief.
Veilige mondzorg in corona tijd De Orfeokliniek heeft speciale maatregelen getroffen en voldoende beschermingsmiddelen om u op een veilige en verantwoorde manier te behandelen.
Duurzame kaak- en kincorrectie Bekijk onze prachtige resultaten bij het behandelen van een afwijkende kaak- en kinstand. Naar de kaakchirurg binnen 2 weken In het ziekenhuis zijn de wachttijden voor kaakchirurgie inmiddels opgelopen tot 6 maanden.
Mond-, kaak- en aangezichtschirurgie MKA. Chirurgische kaakcorrectie. Chirurgische kincorrectie. Implantaat implantologie. Orthodontie volwassenen.
Wortelkanaal endodontologie. Tandvleesbehandeling parodontologie. Orofaciale fysiotherapie kaakfysio. Trekken van tand of kies extractie.
Update: draag een mondkapje! Nu liever niet naar een ziekenhuis? Chirurgische kincorrectie: kleine ingreep, blijvend resultaat. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years.
Its score was published by Monteverdi in and again in After the composer's death in the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances.
At first these performances tended to be concert unstaged versions within institutes and music societies, but following the first modern dramatised performance in Paris, in , the work began to be seen in theatres.
After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it.
In , the quatercentenary of the premiere was celebrated by performances throughout the world. In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters.
Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens.
Composed at the point of transition from the Renaissance era to the Baroque , L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony.
The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.
Claudio Monteverdi, born in Cremona in , was a musical prodigy who studied under Marc'Antonio Ingegneri , the maestro di cappella head of music at Cremona Cathedral.
After training in singing, string playing and composition, Monteverdi worked as a musician in Verona and Milan until, in or , he secured a post as suonatore di vivuola viola player at Duke Vincenzo Gonzaga 's court at Mantua.
Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence.
Towards the end of the 16th century innovative Florentine musicians were developing the intermedio —a long-established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms.
This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole.
Only fragments of its music still exist, but several other Florentine works of the same period— Rappresentatione di Anima, et di Corpo by Emilio de' Cavalieri , Peri's Euridice and Giulio Caccini 's identically titled Euridice —survive complete.
These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid 's Metamorphoses , and as such were direct precursors of Monteverdi's L'Orfeo.
The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged Angelo Poliziano 's lyrical drama La favola di Orfeo , at least half of which was sung rather than spoken.
More recently, in Monteverdi had helped the court's musical establishment produce Giovanni Battista Guarini 's play Il pastor fido , described by theatre historian Mark Ringer as a "watershed theatrical work" which inspired the Italian craze for pastoral drama.
The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it.
Among those present at the Euridice performance in October was a young lawyer and career diplomat from Gonzaga's court, Alessandro Striggio ,  son of a well-known composer of the same name.
The younger Striggio was himself a talented musician; as a year-old, he had played the viol at the wedding festivities of Duke Ferdinando of Tuscany in In a letter written on 5 January, Francesco Gonzago asks his brother, then attached to the Florentine court, to obtain the services of a high quality castrato from the Grand Duke's establishment, for a "play in music" being prepared for the Mantuan Carnival.
These provided him with the basic material, but not the structure for a staged drama; the events of acts 1 and 2 of the libretto are covered by a mere 13 lines in the Metamorphoses.
By contrast, because Striggio was not writing for a formal court celebration he could be more faithful to the spirit of the myth's conclusion, in which Orfeo is killed and dismembered by deranged maenads or "Bacchantes".
The libretto was published in Mantua in to coincide with the premiere and incorporated Striggio's ambiguous ending.
However, Monteverdi's score published in Venice in by Ricciardo Amadino shows an entirely different resolution, with Orpheus transported to the heavens through the intervention of Apollo.
The Bacchantes scene was a substitution; Monteverdi's intentions were restored when this constraint was removed. When Monteverdi composed L'Orfeo he had a thorough grounding in theatrical music.
He had been employed at the Gonzaga court for 16 years, much of it as a performer or arranger of stage music, and in he had written the ballo Gli amori di Diane ed Endimone for the —05 Mantua Carnival.
Here are words as directly expressed in music as [the pioneers of opera] wanted them expressed; here is music expressing them Monteverdi states the orchestral requirements at the beginning of his published score, but in accordance with the practice of the day he does not specify their exact usage.
These could differ sharply from place to place. Furthermore, as Harnoncourt points out, the instrumentalists would all have been composers and would have expected to collaborate creatively at each performance, rather than playing a set text.
Monteverdi wrote plain and embellished versions of some arias, such as Orfeo's " Possente spirto ",  but according to Harnoncourt "it is obvious that where he did not write any embellishments he did not want any sung".
Each act of the opera deals with a single element of the story, and each ends with a chorus. Despite the five-act structure, with two sets of scene changes, it is likely that L'Orfeo conformed to the standard practice for court entertainments of that time and was played as a continuous entity, without intervals or curtain descents between acts.
It was the contemporary custom for scene shifts to take place in sight of the audience, these changes being reflected musically by changes in instrumentation, key and style.
For the purpose of analysis the music scholar Jane Glover has divided Monteverdi's list of instruments into three main groups: strings, brass and continuo , with a few further items not easily classifiable.
The viole da brazzo are in two five-part ensembles, each comprising two violins, two violas and a cello. The continuo forces include two harpsichords duoi gravicembani , a double harp arpa doppia , two or three chitarroni , two pipe organs organi di legno , three bass viola da gamba , and a regal or small reed organ.
Outside of these groupings are two recorders flautini alla vigesima secunda , and possibly one or more citterns —unlisted by Monteverdi, but included in instructions relating to the end of act 4.
Instrumentally, the two worlds represented within the opera are distinctively portrayed. The pastoral world of the fields of Thrace is represented by the strings, harpsichords, harp, organs, recorders and chitarroni.
The remaining instruments, mainly brass, are associated with the Underworld, though there is not an absolute distinction; strings appear on several occasions in the Hades scenes.
Monteverdi instructs his players generally to "[play] the work as simply and correctly as possible, and not with many florid passages or runs".
Those playing ornamentation instruments such as strings and flutes are advised to "play nobly, with much invention and variety", but are warned against overdoing it, whereby "nothing is heard but chaos and confusion, offensive to the listener".
Harnoncourt indicates that in Monteverdi's day the numbers of players and singers together, and the small rooms in which performances were held, often meant that the audience barely numbered more than the performers.
Of all the instruments used in the original performance of L'Orfeo three instruments are no longer used in modern society: The double harp, The cornetto, and the regal.
The Cornetto was a woodwind that was comparable to a trumpet. The Double harp was a string instrument that is similar to a modern-day harp.
The regal was a keyboard similar to a modern-day harmonium , and sounds like the reed pipes of pipe organs. These instruments were used almost as characters in the play.
Particularly the regal was used in many scenes depicting Hades to symbolize death and mirroring the music of a modern-day funeral procession.
In his personaggi listed in the score, Monteverdi unaccountably omits La messaggera the Messenger , and indicates that the final chorus of shepherds who perform the moresca Moorish dance at the opera's end are a separate group che fecero la moresca nel fine.
A letter published at Mantua in records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role.
Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. A clue about who played Euridice is contained in a letter to Duke Vincenzo.
It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's Orfeo ".
This priest was possibly Padre Girolamo Bacchini , a castrato known to have had connections to the Mantuan court in the early 17th century. There are solo parts for four shepherds and three spirits.
Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists except Orfeo also forming the chorus.
Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza. The action takes place in two contrasting locations: the fields of Thrace acts 1, 2 and 5 and the Underworld acts 3 and 4.
An instrumental toccata English: "tucket", meaning a flourish on trumpets  precedes the entrance of La musica, representing the "spirit of music", who sings a prologue of five stanzas of verse.
After a gracious welcome to the audience she announces that she can, through sweet sounds, "calm every troubled heart".
She sings a further paean to the power of music, before introducing the drama's main protagonist, Orfeo, who "held the wild beasts spellbound with his song".
After La musica's final request for silence, the curtain rises on act 1 to reveal a pastoral scene. Orfeo and Euridice enter together with a chorus of nymphs and shepherds, who act in the manner of a Greek chorus , commenting on the action both as a group and as individuals.
A shepherd announces that this is the couple's wedding day; the chorus responds, first in a stately invocation "Come, Hymen , O come" and then in a joyful dance "Leave the mountains, leave the fountains".
Orfeo and Euridice sing of their love for each other before leaving with most of the group for the wedding ceremony in the temple.
Those left on stage sing a brief chorus, commenting on how Orfeo used to be one "for whom sighs were food and weeping was drink" before love brought him to a state of sublime happiness.
Orfeo returns with the main chorus, and sings with them of the beauties of nature. Orfeo then muses on his former unhappiness, but proclaims: "After grief one is more content, after pain one is happier".
The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite.
The chorus expresses its anguish: "Ah, bitter happening, ah, impious and cruel fate! Orfeo, after venting his grief and incredulity "Thou art dead, my life, and I am breathing?
Otherwise, he says, "I shall remain with thee in the company of death". He departs, and the chorus resumes its lament. Orfeo is guided by Speranza to the gates of Hades.
Having pointed out the words inscribed on the gate "Abandon hope, all ye who enter here" , [n 4] Speranza leaves. Orfeo is now confronted with the ferryman Caronte , who addresses Orfeo harshly and refuses to take him across the river Styx.
Orfeo attempts to persuade Caronte by singing a flattering song to him "Mighty spirit and powerful divinity" , but the ferryman is unmoved.
However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. Seizing his chance, Orfeo steals the ferryman's boat and crosses the river, entering the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: "He has tamed the sea with fragile wood, and disdained the rage of the winds.
In the Underworld, Proserpina , Queen of Hades, who has been deeply affected by Orfeo's singing, petitions King Plutone , her husband, for Euridice's release.
Moved by her pleas, Plutone agrees on the condition that, as he leads Euridice towards the world, Orfeo must not look back.
If he does, "a single glance will condemn him to eternal loss". Orfeo enters, leading Euridice and singing confidently that on that day he will rest on his wife's white bosom.
But as he sings a note of doubt creeps in: "Who will assure me that she is following? Perhaps, he thinks, Plutone, driven by envy, has imposed the condition through spite?
Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade.
She sings, despairingly: "Losest thou me through too much love? Orfeo attempts to follow her but is drawn away by an unseen force. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions.
Back in the fields of Thrace, Orfeo has a long soliloquy in which he laments his loss, praises Euridice's beauty and resolves that his heart will never again be pierced by Cupid's arrow.
An off-stage echo repeats his final phrases. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: "Why dost thou give thyself up as prey to rage and grief?
Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend. A shepherds' chorus concludes that "he who sows in suffering shall reap the fruit of every grace", before the opera ends with a vigorous moresca.
In Striggio's libretto, Orfeo's act 5 soliloquy is interrupted, not by Apollo's appearance but by a chorus of maenads or Bacchantes—wild, drunken women—who sing of the "divine fury" of their master, the god Bacchus.
The cause of their wrath is Orfeo and his renunciation of women; he will not escape their heavenly anger, and the longer he evades them the more severe his fate will be.
Orfeo leaves the scene and his destiny is left uncertain, as the Bacchantes devote themselves for the rest of the opera to wild singing and dancing in praise of Bacchus.
The date for the first performance of L'Orfeo , 24 February , is evidenced by two letters, both dated 23 February. In the first, Francesco Gonzaga informs his brother that the "musical play" will be performed tomorrow; it is clear from earlier correspondence that this refers to L'Orfeo.
The second letter is from a Gonzaga court official, Carlo Magno, and gives more details: "Tomorrow evening the Most Serene Lord the Prince is to sponsor a [play] in a room in the apartments which the Most Serene Lady had the use of The room of the premiere cannot be identified with certainty; according to Ringer, it may have been the Galleria dei Fiumi, which has the dimensions to accommodate a stage and orchestra with space for a small audience.
There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had "been to the great satisfaction of all who heard it", and had particularly pleased the Duke.