Giuditta von franz lehar
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[3] Works in the vaudeville tradition were sometimes also referred to as ‘operettas’ despite their small amount of music because ‘operetta’ implied a ‘higher’ status for them. With the opera audience nodding their heads in sympathy, there is no need to discuss politics any further. 315–325. The interchangeable setting remained interchangeable, because that was the original intention.
Stigma
Charles-Simon Favart, the founder of the Opéra comique and the Paris opera house of the same name, once boasted that he had created entertainment for the aspiring bourgeoisie, for the “honnêtes gens”, and this expectation was still attached to the Opéra comique.
Octavio is an officer, a little better than the guard soldier Don José, who is fascinated by Carmen, but his transformation into a bar pianist in a rumpled shirt is a social relegation. The National Socialists appreciated Nietzsche’s superman rhetoric as well as the performances of the then fashionable ‘Ausdruckstanz’, which made it possible to have a singer dance with dancers.
She embodies the “African” quality that Nietzsche appreciated in Carmen (Der Fall Wagner, 1888). This explains the appeal of identities. Meanwhile, the old man Manuel jealously watches over his wife, the young and beautiful Giuditta, whom he met on the beach and whose past remains a mystery to him. His soldiers in Libya probably had good reason to desert.
But while Meyerbeer celebrated his great successes with stage portrayals of controversial political events from French or European history, Lehár achieved similar success with the consistent retreat of his characters into the private sphere. Actes du colloque international […] à Amiens, Amiens 2009, pp.
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A unique artistic journey
From chorist to actor, from stagehand to set and costume designer and director - Pierre Lebon has worn many hats in life.
Carmen is not honourable, she belongs to the underprivileged, who are denied social or even political activity. No one truly knows from whence she came, not the bird-catcher who one day found her on the shore and married her no questions asked, or the handsome Captain Octavio with whom she ran away to North Africa…
Described as a musical comedy by its composer, Franz Lehár’s last operetta has more in common with Puccini’s great operas than classic American musicals, as demonstrated by its premiere amid great fanfare at the Staatsoper in Vienna in 1934.
31-34.
[2] See Kevin Clarke : “Gefährliches Gift. Conversely, it could be argued that ‘operetta’ is the legitimate successor to the old operatic tradition in a changed social environment. Die authentische Operette und was aus ihr nach 1933 wurde”, in: Operetta Research Center, July 2007.
In the form of the trouser roles, however, the older idea remained like a ghost from the distant past. The realistic localization of the exotic world in a Libya colonized by Italy could not succeed. Both Leonore and Ilsa fight for a just cause. Now, he shares his remarkable journey to the stage, offering insights into what it means to be a performer.