Talk:Die schweigsame Frau
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collaboration
[edit]" Strauss himself was collaborating with the Nazis, "
wow, this is so out of date. will amend. — Preceding unsigned comment added by Byronmercury (talk • contribs) 22:11, 8 June 2014 (UTC)
I have expanded the previous text and made it into a new section. Kept Zweig's account (this is also a Zweig page) and added his quote about Strauss. I updated the narrative: the Potter and Walter chapters in the references are based on up to date research (Potter is a leading expert on music in the third Reich).
- I deleted the following, most of it irrelevant now.
- A work of great charm when well cast and performed[according to whom?], it has nevertheless proved one of Strauss' less successful operas. Strauss' association with a Jewish librettist in 1935 Germany provoked a hostile response from Hitler and Goebbels, and even after the war, it has enjoyed relatively few revivals
Byronmercury (talk) 20:14, 1 July 2014 (UTC)
Zweig's adaptation of Jonson
[edit]This new section is based mainly on Del Mar's commentary, which is spread over nearly 50 pages, interspersed with analysis of the music and the politics. I have drawn together the main themes and I have provided in line citations for the key points. The libretto references are to the pdf you can download from the link in "external resources". Byronmercury (talk) 19:50, 22 December 2014 (UTC)
Performances in Strauss' lifetime
[edit]Although Strauss outlived the Nazi regime, Die schweigsame Frau was not revived in his lifetime[citation needed]. Thanks for this: will look into it. Have removed for now.Byronmercury (talk) 11:57, 9 March 2015 (UTC)
"1946 versuchte Dresden mit einer Aufführung im Kleinen Haus die Oper zu rehabilitieren; Berlin, München und Wiesbaden folgten" from the German Wikipedia Die schweigsame Frau. "In 1946 Dresden rehabilitated the opera with a performance in the small theatre; Berlin , Munich and Wiesbaden followed". Have duly ammended text Byronmercury (talk) 14:19, 9 March 2015 (UTC)
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