Berlin Three Critics

Busoni, Ferruccio: Suite aus "Die Brautwahl" op. 45 "Brautwahl" Suite op.45 "

S. 108, Ferruccio Benvenuto Busoni (geb. Empoli, 1. April 1866 - gest. Berlin, 27. Juli 1924) Orchester-Suite aus "Die Brautwahl" op. 45 I Spukhaftes Stück. Allegretto moderato - Al galoppo - Con fuoco p. 1 II Lyrisches Stück. Andante amoroso p. 25 III Mystisches Stück. Sostenutissimo - Andante mistico - Andantino - Tempo di Valse lento p. 44 IV Hebräisches Stück. Andante sostenuto in modo giudaico - Schnell und wild - Tempo I p. 57 V Heiteres Stück. Allegro - Presto p. 77 Vorwort Den ersten Entwurf des Librettos zu seiner Oper Die Brautwahl - nach dem ersten Kapitel, betitelt Der Einsiedler Serapion, aus der Novellensammlung Die Serapionsbrüder von E. T. A. Hoffmann - verfaßte Ferruccio Busoni 1905. Hoffmanns Geschichte nimmt Bezug auf eine Berliner Historie des 16. Jahrhunderts über den Münzmeister Lippold und den Goldschmied Leonhard Thurnheisser sowie auf Shakespeares Der Kaufmann von Venedig, an welchen anknüpfend die Brautwahl per 'Kästchen-Zeremonie' durchgeführt wird. Im Mittelpunkt der Handlung stehen bei Busoni Leonhard als der gute und Manasse (der an Shylock erinnert) als der böse Zauberer. Die die Zeitdimension transzendierende Handlung bei Hoffmann erfährt ihre Entsprechung in einer mit Zitaten und Einschmelzungen die Zeitstile transzendierenden Musik bei Busoni, der sich wenigstens für eine gewisse Zeit für eine Reinkarnation Hoffmanns hielt, welcher hier wiederum in die historische Figur Leonhard geschlüpft ist. Ende 1906 ließ Busoni die Erstfassung des Librettos (zusammen mit dem Libretto zu Der mächtige Zauberer, das nie musikalisch umgesetzt wurde, und dem revolutionären Entwurf einer neuen Ästhetik der Tonkunst) in Triest veröffentlichen. Die Entstehung der Oper zog sich hin bis ins Jahr 1911. Nachdem Busoni 1910 das Hamburger Stadt-Theater für die Uraufführung und den Harmonie-Verlag für die Veröffentlichung gewonnen hatte, ging der Harmonie-Verlag in Insolvenz. Busoni übernahm die immensen Kosten für die Herstellung des Aufführungsmaterials selbst (das Partiturmanuskript der ca. dreistündigen Oper umfaßt 883 Seiten). Zur Uraufführung kam die Oper Die Brautwahl am 13. April 1912 in Hamburg unter der musikalischen Leitung von Gustav Brecher mit Elisabeth Schumann in der Rolle der von drei Bewerbern begehrten Albertine. Das Werk, dessen primär durch fast sklavische Texttreue bedingte Überlänge bei aller gedanklichen Originalität und Brillanz Busonis musiktheatralische Unerfahrenheit dokumentierten, wurde matt aufgenommen und von der Presse verrissen. Nicht zuletzt, um den finanziellen Verlust abzufangen, extrahierte Busoni die hier erstmals im Studienformat vorgelegte Orchestersuite aus der Oper, wobei er fünf Symbolstücke schuf, die jeweils handlungstranszendierend ineinander montiert sind (genauere Erläuterungen dazu gibt die separate, mit Busoni abgestimmte und dem Erstdruck vorangestellte Einführung Hugo Leichtentritts). Vollendet im August 1912, kam die Suite am 3. Januar 1913 im Beethovensaal zu Berlin durch das Berliner Philharmonische Orchester unter Oskar Fried zur Uraufführung und erschien 1917 bei Breitkopf & Härtel, Leipzig, im Druck. Die Brautwahl-Suite op. 45 ist, obgleich selten gespielt und nie populär geworden, in ihrer noblen Mystik, die immer eine innere Distanz zum Überschwang des Affekts bewahrt, und in der charakteristischen Mannigfaltigkeit eines der bedeutendsten Orchesterwerke Ferruccio Busonis. Christoph Schlüren Aufführungsmaterial ist vom Verlag Breitkopf & Härtel, Wiesbaden (www.breitkopf.de) zu beziehen. Nachdruck eines Exemplars der Musikbibliothek der Münchner Stadtbibliothek. top of page Ferruccio Benvenuto Busoni (b. Empoli, 1 April 1866 - d. Berlin, 27 July 1924) Orchestral Suite from "Die Brautwahl" Op. 45 I Ghostly Music. Allegretto moderato - Al galoppo - Con fuoco p. 1 II Lyrical Music. Andante amoroso p. 25 III Mystic Music. Sostenutissimo - Andante mistico - Andantino - Tempo di Valse lento p. 44 IV Hebrew Music. Andante sostenuto in modo giudaico - Fast and wild - Tempo I p. 57 V Joyous Music. Allegro - Presto p. 77 Preface In 1905 Ferrucio Busoni wrote the first draft of the libretto of his opera Die Brautwahl, taking the name from the first novel (Der Einsiedler Serapion) of E.T.A Hoffmann's collection of novellas, Die Serapionsbrüder. These tales of Hoffmann are based on stories dating from 16th century Berlin about Lippold the master coin-maker and Leonhard Thurnheisser the goldsmith, and provide a link to Shakespeare's Merchant of Venice; the Brautwahl, or bridal choice, being made by means of a ceremonial trial with caskets. Busoni's action centres around Leonhard, as the good magician, and Manasse - who is reminiscent of Shylock - as his evil counterpart. Hoffmann transcends the element of time, Busoni achieving this by musical quotations and excursions into a contemporary transcendental style. Busoni himself believed for some time at least that he was the very reincarnation of Hoffmann, who in the opera is thinly disguised as the real Leonhard. Busoni published the first version of the libretto in Trieste in 1906, at the same time as the libretto to Der mächtige Zauberer, which was never set to music. His revolutionary Entwurf einer neuen Ästhetik der Tonkunst went to press the same year. The opera itself was not finished, however, until 1911. And no sooner had Busoni negotiated the first performance of the work with the Stadt-Theater in Hamburg, with Harmonie-Verlag as publishers, than the publishing house went into liquidation. Busoni himself financed the costs of publishing the performance material, which were huge: the manuscript score of this three hour opera runs to 883 pages. The premiere took place in Hamburg on 13th April 1912, and was conducted by Gustav Brecher. Elisabeth Schumann was cast as Albertine, who in the opera is wooed by three suitors. The work met with a lukewarm reception and was torn to shreds by the critics, not least due to its excessive length. This reflects Busoni's slavish adherence to the text and, despite all the brilliance and originality of the opera, his inexperience with musical drama. In an attempt to recover from great financial loss, Busoni decided to make an orchestral suite from Die Brautwahl, published here for the first time in study format. It consists of five pieces of symbolic intent, ones that exhibit a high degree of integration with each other and which transcend the limits of the stage drama. (Further details may be found in Hugo Leichtentritt's introduction to the first edition, published with the composer's approval.) The suite was completed in August 1912 and performed for the first time at the Beethoven Saal, Berlin, by the Berlin Philharmonic Orchestra on 3rd January 1913; the conductor was Oskar Fried. Published by Breitkopf und Härtel, Leipzig, in 1917, the Brautwahl Suite Op. 45 remains rarely performed and has never been really popular; its high-minded, introspective mysticism steers nevertheless well clear of effect for its own sake and its typically imaginative formal range identifies the suite as one of Busoni's most important orchestral works. Translation: Jonathan Price For performance materials please contact the publisher Breitkopf & Härtel, Wiesbaden (www.breitkopf.de). Reprint of a copy held by the archives of the Musikbibliothek in the Münchner Stadtbibliothek.

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Weber, Carl Maria von: Oberon Oberon,

S. 254, Carl Maria von Weber (Born December 1786 in Eutin, North Germany - Died May 6, 1826 in London) "Oberon" Romantic Opera in Three Acts Libretto: James Robinson Planche Based on the poem Oberon by Chr. M. Wieland Premiere: Covent Garden, London, April 12, 1826 under the direction of C. M. v. Weber Preface Carl Maria von Weber was born on December 18, 1786 in a pub in the North German town of Eutin to a family that was neither aristocratic nor Austrian in heritage. At the time of his birth, his father's theater company was touring through the northern state of Schleswig-Holstein. Weber's mother's name was Genoveva (maiden name Brenner), and was Franz Anton Weber's second wife. her family came from the Allgäu in Southern Germany, and she received her education as a singer in Vienna. Weber's father came from a black-forest family of craftsmen and civil servants. Because his own ancestry appeared to him as "insufficient", he began to create his own "better and more interesting" version of his heritage. He was also disappointed with the musical gifts of his son Carl Maria and he began to impose much higher expectations onto his son-- he wanted him to become a Mozart-like "Wunderkind" at the piano and the violin, and also claimed that Mozart's wife Konstanza was a relative of the family. Until the age of twelve, Carl Maria traveled with his parents and their theater company from town to town. While the traveling years stopped abruptly with the death of his mother, the restlessness remained a part of Weber for most of his adult life. As Weber grew, his father sent him off to school-First in Salzburg, where he received lessons from Haydn's younger brother Michael, then later on in Vienna, where he became a student of Abbe Vogler. At the young age of 18, the young Carl Maria von Weber became Kapellmeister in the town of Breslau with the help of Vogler's recommendation. Following this position, Weber was staying at the court of Duke Eugen of Württemberg in Stuttgart, when some money that Carl Maria was supposed to administer disappeared. He served a short prison term, yet was expelled from the country all the same. He moved on to Mannheim and Darmstadt, where he founded a Philharmonic Society with Giacomo Meyerbeer. Like Meyerbeer, Weber was an outstanding pianist and in addition an excellent conductor. However, his abilities as a singer had faded due to an accidental consumption of nitric acid. For several years, Weber traveled throughout Germany as a pianist, teacher and conductor, until he settled down for the first time in Prague where he accepted the position of music director and conductor at the Prague State Theater. Three years later, he followed an invitation to establish the newly built Deutsche Oper in Dresden, which was considered a German cultural counterpart to the standard Opera Houses of the Italian Court at the time. After an affair with an unscrupulous Prima Donna, which almost ruined his life, he finally married the singer Caroline Brandt, who loved and understood him. They settled down in Klein-Hosterwitz, a small town near Dresden, and were surrounded by children, a dog, a cat and a monkey. Here, Weber was able to begin working with much greater seriousness and focus. During his early years, Weber had already written his first and often forgotten operas, such as Das stumme Waldmädchen (1800) and Peter Schmoll und seine Nachbarn (1803). In 1810 followed Silvana, which was a revised version of Das stumme Waldmädchen. Due to his experiences with theater, his early works were all dramatically well composed, yet lacked a uniqueness and individual personality in regard to their music. With his one-act opera Abu Hassan (1811) his own distinctive language began to unfold. However, it is during the period of his residence in Dresden when he composed his most ingenious operas, such as his Preciosa (1821), and the most influential of his major last three operas, Der Freischütz (1821). It was through these works that Weber gained fame and respect as the founder of the new genre known as German Romantic Opera. Weber was not only considered an inventive spirit as a composer, but also in other fields such as manager and organizer of the Dresden Opera. He thoroughly cleared up the inner structures of the house, made the production process for the operas much more efficient, and even fought for a newly defined role of the conductor. The conductor became the authority for all major decisions, which had to be followed by singers as well as the orchestral musicians. Weber's regrouping and restructuring of the orchestra and its musicians are still the basic principles which are valid today. His rehearsals were precise and did not allow for any type of inaccuracy. As well, he did not hesitate to interfere with matters of staging and stage direction. Von Weber was a mastermind in the world of theater and the first contemporary music director in opera (Opern -Kapellmeister). Yet, at the same time due to his many talents, he was viewed as an outsider of the world of opera in his time and was not always taken seriously. He represented a new type of academically oriented musician (Bildungsmusiker) that the majority of people, due to their attachment to 18th century thinking and customs, were unable to accept. During his time, Weber, with his intense scope of activities, was often viewed as a charlatan. Von Weber fought against these perceptions with the new weapons of his time: by writing and publishing various manifests, polemic articles and public letters. The king of Saxony and his court preferred the Italian Opera for the city of Dresden, where this operatic style was still practiced until 1832-- the longest of anywhere in Germany. That explains why neither Der Freischütz, which was premiered in the newly built Schauspielhaus in Berlin (designed by the famous architect Schinkel), nor Euryanthe (1823), which had been commissioned by the Kärntnertor-Theater in Vienna, nor von Weber's last opera Oberon were premiered in Dresden. Weber intended to dedicate the opera Die drei Pintos to the king. However, the opera was rejected and never completed. Gustav Mahler completed the opera which then had its premiere in Leipzig in 1888. The success of Der Freischütz in Berlin was extraordinary and one of the greatest in the history of opera per se. This operatic triumph lead to a demand for operas written by Weber from opera houses in Paris and London. Carl Maria von Weber chose London and composed the opera Oberon for Covent Garden. To be able to rehearse the opera in London, Weber studied the English language, even though he was suffering from a severe and life-threatening illness, knowing that he would not live much longer. Conscientiously he conducted the premiere in London on April 12, 1826, as well as the remaining other twelve performances to fulfill the conditions of the contract. On June 5, 1826, Carl Maria von Weber died of tuberculosis. His life ended in a state of exhaustion and homesickness. Due to Richard Wagner's influence, Weber's remains were brought to Dresden in 1844. Wagner, who was a great admirer of Weber, spoke the following words at Weber's final resting place: " . Only the German can love you; you belong to him, a wonderfully beautiful day in his life, a warm drop of his blood, a part of his heart." Hector Berlioz wrote: "Despite the overwhelming success and popularity of his Freischütz, and even though he was without doubt aware of his own genius, Weber would have been truly happy had he received a much more humble and sincere form of admiration. He has composed highly regarded works that were received by artists and critics with an overly contemptuous indifference. His Euryanthe had achieved a sort of semi success only; the possibility that such a work would only please an audience composed of poets and questionable intellectuals had to make him somewhat concerned about the destiny of his Oberon. The king of kings, Beethoven, has misjudged ...

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Florschuetz, Thomas: Are You Talking To Me? ; 1. Ed.
Steidl, Göttingen. 2004. First edition, first printing. New, mint, unread; still originally shrink-wrapped in publisher's plastic foil. Paperback (as issued). 300 x 250 mm. 160 pages. 105 colour plates. With essays by Christoph Schreier, Mark Gisbourne and Aris Fioretos. Bilingual text (english/german). No one has ever seen the human body quite like Thomas Florschuetz. He brings parts of the body - legs, fingers, heels, arms - into view and composes them into photos full of visual impact and confusing vagueness. His own body serves as the motif. Not obviously posed or arranged, it supplies the banal photo fragments that reveal their sensual power once they've been turned into something artificial, unreal. Objects from daily life are also presented by Florschuetz in such a way that they transcend their normal function. He photographs portions of plants or buildings, windows and curtains, enlarges them into oversized photos with a three-dimensional quality and mounts them on triptychs or hangs them in groups. Handled in this way, the subjects of his photographs attain an aura of mystery, detached from the world. Are you talking to me? is the first comprehensive presentation of work made by the artist. Thomas Florschuetz, born in 1957, lived in East Berlin from 1981 until 1988, when he moved to West Berlin. In 2000 he was the Artist in Residence at Villa Aurora, Pacific Palisades, California. His works are part of several public and private collections and have been exhibited many times. Florschuetz has been awarded numerous prizes, including the first prize for new European photography, the Dorothea von Stetten Prize and the German Critics' Award for Fine Arts.***************Steidl, Göttingen. 2004. Deutsche Erstausgabe. Originalausgabe. Neu, ungelesen, verlagsfrisch; noch original-verschweißt in der Plastikfolie des Verlags. Paperback (wie erschienen). 300 x 250 mm. 160 Seiten. 105 Farbfotos. Mit Essays von Christoph Schreier, Mark Gisbourne und Aris Fioretos. Zweisprachiger Text (englisch/deutsch).

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Schreker, Franz: Vorspiel zu einem Drama für großes Orchester (1913)

Franz Schreker (geb. Monaco, 23. März 1878 - gest. Berlin, 21. März 1934) Vorspiel zu einem Drama für großes Orchester (1913) Vorwort Das Vorspiel zu einem Drama von Franz Schreker entstand 1913 und erschien ein Jahr später als Partitur bei der Universal Edition Wien. Beim im Titel erwähnten "Drama" handelt es sich um Schrekers damals neuestes Opernprojekt Die Gezeichneten (1913-15), und das Vorspiel stellt eine erweiterte Konzertfassung der späte-ren Ouvertüre zu dieser Oper. Die Uraufführung des Orchesterwerks fand am 8. Februar 1814 in Wien unter Felix Weingartner statt, auf dessen Anregung das Werk eventuell überhaupt erst entstand, denn der große Dirigent hatte Schreker schon seit längerer Zeit um eine neues Orchesterwerk gebeten. Die Reaktion der Wiener Presse erstreckte sich von lauwarm bis feindselig, was allerdings nicht so sehr die Qualitäten der Musik als eher die polemischen Querellen widerspiegelt, die die Wiener Musikwelt damals plagten. Auch wurde eine Bearbeitung für Klavier zu vier Händen vom Schreker-Schüler Harry Loewy-Hartmann angefertigt. Weitere Aufführungen, die 1916 und 1917 mit dem Orchester der Dresdner Hofoper unter der Leitung von Hermann Kutzschbach stattfanden, dienten zwar als gute Reklame für die Musik Schrekers insgesamt (kurz darauf erfolgte eine Dresdener Operninszenierung des Fernen Klangs), reichten jedoch nicht, um das Vorspiel ins Konzertrepertoire zu etablieren. Mit der überwältigenden Frankfurter Uraufführung der Gezeichneten am 25. April 1918 wurde auch das Interesse am Vorspiel wieder wach. In der Spielzeit 1920/21 gab es Konzertaufführungen in Boston unter Pierre Monteux sowie in Chicago unter Frederick Stock, 1924 erfolgten zwei beachtliche Aufführungen unter der Leitung des Komponisten in Leningrad und Moskau. Mit dem Aufkommen der "Zeitoper" sowie der "Neuen Sachlichkeit" in der späteren Jahrzehnthälfte geriet jedoch die Musik Schrekers langsam ins Abseits, und sein unerwartet früher Tod im Jahre 1934, zusammen mit der antimodernistischen und antisemintischen Kulturpolitik der Nazionalsozialisten, setzte der Rezeption seiner Musik insgesamt ein unverdient jähes Ende. In den Nachkriegsjahren war es unter den ehemaligen Weggefährten Schrekers lediglich der deutsche Dirigent Ferdinand Leitner, der nachweislich gelegentlich das Vorspiel in seine Konzertprogramme aufnahm. Diese Situation änderte sich merklich seit den 1980er Jahren mit dem Wiederaufleben des Interesses an der frühen musikalischen Moderne Wiens (Zemlinsky, Schreker, Korngold, Wellesz, Franz Schmidt). Heute gibt es vom Vorspiel zu einem Drama ausgezeichnete Platteneinspielungen von Michael Gielen mit dem Südwestdeutschen Rundfunksinfonieorchester Baden-Baden (1991), Gerd Albrecht mit dem Bundes-jugendorchester (1991), James Conlon mit dem Gürzenich-Orchester Köln (1997), Vassily Sinaisky mit dem BBC Philharmonic Orchestra (1999) sowie wiederum Michael Gielen mit dem Rundfunksinfonieorchester Berlin (2007). Bei der vorliegenden Studienpartitur handelt es sich um einen unveränderten Nachdruck der Originalausgabe der Universal Edition Wien aus dem Jahr 1914. Wie die zugrunde liegende Opernouvertüre wirkt auch das Vorspiel zu einem Drama als Einführung in die Hauptpersonen und das musikalische Material der Oper Der Gezeichneten, eines reißerisch erotisierenden Dramas, das sich in der italienischen Renaissancezeit abspielt und einige Gemeinsamkeiten mit dem Leben des adeligen Madrigalkomponisten Gesualdo da Venosa aufweist. Geschrieben wurde das Libretto von Schreker selber auf Wunsch seines Wiener Komponistenfreundes Alexander Zemlinsky, der aus offensichtlich autobiographischen Beweggründen eine Oper komponieren wollte, deren männliche Hauptperson durch mißgestaltete Häßlichkeit gebrandmarkt wird. Nach Fertigstellung des Librettos war Schreker jedoch mit dem Ergebnis derart zufrieden, dass er beschloss, die Oper selbst zu vertonen (Zemlinsky willigte freundlicherweise ein und schuf später eine eigene Oper zum gleichen Thema: Der Zwerg). Das Werk handelt von dem buckligen Aristokraten Conte Alviano Salvago aus Genua, einem adeligen Wüstling Conte Tamare sowie einer ebenso schönen wie gesundheitlichen angegriffenen aristokratischen Malerin Carlotta. Zum Schluss muss Alviano den Tamare ermorden, um die junge Frau vor seinen tödlichen sexuellen Avancen zu beschützen, erntet dafür jedoch nur ihre unerbittliche Ablehnung und Verachtung. Alle drei dieser tragischen "Gezeichneten" werden im Vorspiel zu einem Drama auch musikalisch nachgezeichnet. Bradford Robinson, 2011 Wegen Aufführungsmaterial wenden Sie sich bitte an Universal Edition, Wien. Nachdruck eines Exemplars der Musikbibliothek der Münchner Stadtbibliothek, München. top of page Franz Schreker (b. Monaco, 23 March 1878 - d. Berlin, 21 March 1934) Prelude to a Drama for Large Orchestra (1913) Preface Franz Schreker's Vorspiel zu einem Drama was composed in 1913 and published in full score the following year by Universal Edition, Vienna. The "drama" in question was Schreker's new opera project, Die Gezeichneten (1913-15), and the Vorspiel represents an expanded concert version of what would later become the overture to that opera. It received its premiere on 8 February 1914 in Vienna, with Felix Weingartner conducting the Vienna Philharmonic. There is even some possibility that the Vorspiel was prepared at Weingartner's behest, as the great conductor had long been asking for new material from Schreker's pen. The response of the Viennese critics was lukewarm to hostile, but reflected not so much the value of the music as the local politics that racked the Viennese musical world at the time. An arrangement for piano four-hands was prepared by Schreker's student, Harry Loewy-Hartmann. Further performances were given in 1916 and 1917 by the orchestra of the Dresden Court Opera under Hermann Kutzschbach, but though they served as a good advertisement for Schreker's work as a whole (especially Der ferne Klang, which was mounted in Dresden a short while later), they failed to establish the Vorspiel in the concert repertoire. With the stunningly successful premiere of Die Gezeichneten in Frankfurt on 25 April 1918, interest in the Vorspiel was rekindled. In 1920-21 it was conducted in Boston in Pierre Monteux and in Chicago by Frederick Stock, and two highly successful performances were given in Moscow and Leningrad under Schreker's baton in 1924. With the advent of Zeitoper and Neue Sachlichkeit, however, Schreker's music gradually fell out of favor during the later 1920s, and his early death in 1934, combined with the advent of the Nazi's anti-modernist and anti-Semitic cultural policies, put an unjustified temporary end to the reception of his music. In the post-war years only Ferdinand Leitner, who knew Schreker in Berlin, is known to have included the Vorspiel in his concert programs. Things changed dramatically beginning in the 1980s with the resurgence of interest in Vienna's early modernists (Zemlinsky, Schreker, Korngold, Wellesz, Franz Schmidt), and today Vorspiel zu einem Drama can be heard in excellent recordings by Michael Gielen with the Southwest German RSO Baden-Baden (1991), Gerd Albrecht with the Bundesjugendorchester (1991), James Conlon with the Gürzenich Orchestra of Cologne (1997), Vassily Sinaisky with the BBC Philharmonic (1999), and again Michael Gielen with the Berlin RSO (2007). The present study score is a faithful reproduction of the original edition issued by Universal in 1914. The Vorspiel zu einem Drama, like the overture on which it is based, introduces listeners to the main characters and the musical material of Schreker's Die Gezeichneten ("The Stigmatized"), a lurid erotic drama set in the Italian renaissance with certain parallels to the life of Gesualdo da Venosa. Schreker himself wrote the libretto at the request of his Viennese composer-friend Alexander Zemlinsky, who, for obvious personal reasons, wanted to write an opera whose main character was marred by physical ugliness. In the end, Schreker was so satisfied with the result that he decided to set the libretto to music himself (Zemlinsky kindly consented and later went on to write an opera on a similar theme, Der Zwerg.) The plot involves a contorted romantic triangle between a hunchback Genoese aristocrat Count Alviano Salvago, a libertine Count Tamare, and the beautiful but frail Carlotta, a gifted painter. In the end Alviano murders Tamare to protect the girl from harm, only to find himself remorselessly rejected by her in turn. All three of these tragic "stigmatized" figures are musically depicted in the Vorspiel. Bradford Robinson, 2011

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