View allAll Photos Tagged Denigration
Cachez ce sein que je ne saurais voir… C’est aujourd’hui la Joconde du musée des Beaux-Arts d’Anvers, pourtant cette Madone entourée de séraphins et de chérubins n’a pas toujours été considérée comme un chef-d’œuvre. Au XIXe siècle, qui a vu l’avènement de la bourgeoisie et sa morale pudibonde, elle a même été dénigrée. Diablement sulfureuse, érotique, voire obscène…Au XVe siècle, cette vierge impudique ne choquait pas. Elle trônait même au cœur d’une église ! Réalisée vers 1452–1458 par Jean Fouquet, enlumineur et peintre à la cour de Charles VII, l’œuvre résulte d’une commande d’Étienne Chevalier, trésorier du roi, qui souhaitait laisser une trace de sa grande piété. Le panneau conservé au musée des Beaux-Arts d’Anvers constitue la seconde partie d’un diptyque que le commanditaire destinait à la collégiale de Melun, qui lui a donné son nom : Le Diptyque de Melun.
Il est fort probable que le peintre se soit ici inspiré des traits d’Agnès Sorel, favorite du roi Charles VII, disparue deux ans plus tôt à l’âge de 27 ans, à la suite d’une intoxication fortuite (ou préméditée ?) au mercure… On reconnaît aisément les traits de la jeune femme, dotée d’une grande beauté, grâce à son (très) haut front et à sa fossette au menton. Mais Agnès Sorel était aussi une audacieuse ! Elle lançait les modes de la cour, comme celle du décolleté, reprise ici par le peintre… Sous le pinceau de Jean Fouquet, voilà la « Dame de beauté » sacrée reine pour l’éternité, admirée, aujourd’hui encore, pour sa stupéfiante modernité. (Texte sur le site Beaux-Arts)
Hide this breast that I cannot see... Today it is the Mona Lisa of the Museum of Fine Arts in Antwerp, yet this Madonna surrounded by seraphim and cherubim has not always been considered a masterpiece . In the 19th century, which saw the advent of the bourgeoisie and its prudish morality, it was even denigrated. Devilishly sulphurous, erotic, even obscene...In the 15th century, this immodest virgin did not shock. It even took pride of place in the heart of a church! Created around 1452–1458 by Jean Fouquet, illuminator and painter at the court of Charles VII, the work was commissioned by Étienne Chevalier, the king's treasurer, who wished to leave a trace of his great piety. The panel kept at the Museum of Fine Arts in Antwerp constitutes the second part of a diptych that the sponsor intended for the collegiate church of Melun, which gave it its name: The Diptych of Melun.
It is very likely that the painter was inspired here by the features of Agnès Sorel, favorite of King Charles VII, who died two years earlier at the age of 27, following a fortuitous (or premeditated?) intoxication. with mercury... We easily recognize the features of the young woman, endowed with great beauty, thanks to her (very) high forehead and her dimple in her chin. But Agnès Sorel was also daring! She launched the fashions of the court, like that of the neckline, taken up here by the painter... Under the brush of Jean Fouquet, here is the "Lady of Beauty" crowned queen for eternity, admired, even today, for her astonishing modernity. (Text on the Beaux-Arts website)
Owen Beach at Point Defiance park is a quiet refuge from the hustle and bustle of industry. The city used to be home to all kinds of industry including aluminium smelters, oil refineries, lumber mills, and pulp and paper mills.
Now only a single refinery and a pulp mill remain but the port is still busy. In the days when all the smoke stacks were still active I imagine the air in this park provided a very welcome respite to local residents' lungs and nostrils.
Some Seattlites still like to denigrate Tacoma with the simple expression "Tacoma Aroma". On days when the wind is blowing toward the city from the pulp mill you can still get a whiff of it. The mountain on the horizon is Mount Rainier.
Tacoma, WA
WP_20141031_17_47_42_Fused-2
Surreal2
Belgian postcard by Nieuwe Merksemsche Chocolaterie S.P.R.L., Merksem (Anvers). Photo: Republic Pictures. Robert 'Bobby' Blake as Little Hunter.
On 9 March 2023, American film actor Robert Blake (1933-2023) died of heart failure in Los Angeles. He started his career as a child actor under the names 'Mickey Gubitosi and 'Bobby Blake'. He gained a good deal of fame as the Indian sidekick Little Beaver in the Red Ryder series of Westerns. As an adult, he played killer Perry Smith in the film adaptation of Truman Capote's In Cold Blood (Richard Brooks, 1967) and the title role of Tell Them Willie Boy Is Here (Abraham Polonsky, 1969). He gained his greatest fame through the title role in the police series Baretta (1975-1978). Then Blake faded into obscurity until a one-off comeback as a 'mystery man' in Lost Highway (David Lynch, 1997). Robert Blake was 89
Robert Blake was born Michael Gubitosi. He made his film debut as a 5-year-old in the MGM production Bridal Suite (Wilhelm Thiele, 1939). Then he appeared in some 40 short films in the Our Gang series, starting with Joy Scouts (Edward Cahn, 1939). The last was Dancing Romeo (Cy Endfield, 1944). As one of the more prominent children in the Gang, he gained attention for his cute good looks and his lovable, if somewhat melancholy, personality. He also starred in such full-length MGM films as I Love You Again (W.S. Van Dyke, 1940), Mokey (Wells Root, 1942), Andy Hardy's Double Life (George B. Seitz, 1942), and Lost Angel (Roy Rowland, 1943). Republic studio engaged Blake for the lead role of Little Beaver, Red Ryder's Indian sidekick, in the B-western Tucson Raiders (Spencer Gordon Bennet, 1944). He continued to play Little Beaver in all 22 remaining Red Ryder films, up to and including Marshall of Cripple Creek (R.G. Springsteen, 1947). Blake was often cast as an Indian, Mexican or Arab, like opposite Laurel & Hardy in The Big Noise (Malcolm St. Clair, 1944), opposite John Wayne in Dakota (Joseph Kane, 1945), and The Black Rose (Hathaway, 1950). In 1950, Blake entered military service. Though roles were sporadic as he grew to manhood, he was never long off the screen. His films included The Veils of Bagdad (George Sherman, 1953), Screaming Eagles (Charles F. Haas, 1956), Three Violent People (Rudolph Maté, 1957), and The Tijuana Story (Leslie Kardos, 1957).
In the early 1960s, Robert Blake appeared in Town Without Pity/Stadt ohne Mitleid (Gottfried Reinhardt, 1961), PT 109 (Milestone and Leslie H. Martinson, 1963), The Greatest Story Ever Told (as Simon the Zealot; George Stevens, 1965) and This Property Is Condemned (Sydney Pollack, 1966). Then his career really took off with his stunning portrayal of killer Perry Smith in In Cold Blood (Richard Brooks, 1967), followed by the title role of Tell Them Willie Boy Is Here (Abraham Polonsky, 1969) with Robert Redford. Blake, to whom is sometimes attributed the longest, more or less uninterrupted film career (1939-1997), more recently starred in such films as Un uomo dalla pelle dura/The Boxer/Ripped-Off (Francesco Prosperi, 1972), Corky (Leonard J. Horn, 1972), Electra Glide in Blue (James William Guercio, 1973), Busting (Peter Hyams, 1974), Second-Hand Hearts (Hal Ashby, 1980), Coast to Coast (Joseph Sargent, 1980). Consumed with anger over his treatment by his family and the studio as a child, he denigrated his early work, suffered bouts of difficulty with drugs, and became known as a difficult, perfectionist person to work with. He quit his successful TV series Hell Town (1985) when his personal demons became overwhelming. After eight years, he returned to filming and he appears in Lost Highway (David Lynch, 1997), about a man who murders his wife. It was inspired, according to David Lynch, by the O.J. Simpson case. Blake himself became the centre of another high-profile wife-killing case in real life. In 2001, Blake was charged with murdering his wife Bonnie Lee Bakley but acquitted in 2005 for lack of evidence. Civil law did hold Blake liable for her death that same year and ordered him to pay $30 million in damages to her next of kin, resulting in his bankruptcy. His daughter, Rose Lenore Sophia Blake (with Bonnie Lee Bakley), was born in 2000. Quentin Tarantino dedicated the novelisation of Once Upon a Time in Hollywood to Blake. The character Cliff Booth, played by Brad Pitt in the film, was partly inspired by him.
Sources: Jim Beaver (IMDb), Hans Beerekamp (Schimmenrijk - Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
The Museum´s web site says:
Haus der Kunst's history is not just any history. More than any other museums, the institution has made its mark on the histories of modern art historiography.
After its opening in 1937 as "Haus der Deutschen Kunst” [House of German Art], the Neoclassical building served to demonstrate National Socialist cultural politics and became the party's leading art institution. After the end of World War II, the museum building was first used by the US army as an officer's club. Art exhibitions took place as early as 1946. The return of modernism to the very place where the denigration of artists had begun served as part of a larger historical contemplation.
Haus der Kunst became an important venue for featuring avant-garde works - like Picassos "Guernica" in 1955 - and thus a counterbalance to its defamatory stance during the Third Reich. Since then, Haus der Kunst has been transformed radically into an international center of modern art exhibitions, and,today into a global museum of contemporary art. The cultural examination and curatorial analysis of this process has become an ongoing, integral part of Haus der Kunst's program.
Chapter 1: 1931 - 1933
The history of Haus der Kunst begins with the Glass Palace in Munich’s Old Botanical Garden. In 1853-1854, August von Voit built a modern glass and steel construction for the first "Allgemeine Ausstellung deutscher Industrie- und Gewerbeerzeugnisse" [General German Industry Exhibition].
In 1858, the "Erste deutsche allgemeine und historische Kunstausstellung" [First German General and Historical Art Exhibition] was held there, followed in 1869 by the "I. Internationale Kunstausstellung" [First International Art Exhibition].
As of 1889, the Glass Palace was used almost exclusively for art exhibitions. The annual exhibitions of Munich's artists' associations took place here; the shows were commercial and often included as many as 3,000 exhibits. The Glass Palace evolved into the largest exhibition forum in Munich and into a significant hub of art trading.
When the building was destroyed by fire on the night of June 6, 1931, a chapter in Munich's exhibition history came to an end. The cause of the fire was never exactly determined.
That same year, plans began on the construction of a new exhibition building. The Bavarian Ministry of Culture succeeded in pushing through architect Adolf Abel from the Technical University. In early 1933, work on Abel's design for a functionally-orientated structure made of reinforced concrete was about to begin. But the Nazis’ accession to power ultimately put an end to the project.
Chapter 2: 1933 - 1937
Hitler relocated the building plot to the southern edge of the English Garden, Munich’s large park.
It was on his orders that Paul Ludwig Troost was given the contract for the first representational monumental building of the Third Reich, the "Haus der Deutschen Kunst" [House of German Art].
Until that point, Troost had been known mainly for his outfitting of the luxury liners of the North German Lloyd line.
After his early death in January 1934, he was posthumously elevated to the position of "first master builder to the Führer". His widow, Gerdy Troost, and his trusted employee, Leonhard Gall, continued the work.
Troost’s neoclassical art shrine, which includes references to Leo von Klenze and Karl Friedrich Schinkel, consisted of a steel structure clad in Danube limestone and containing some modern engineering.
Top officials from Germany’s economic and industrial sectors made significant donations to raise the 9 million Reichsmarks it cost to build this edifice.
As a counterpart to the "Haus der Deutschen Kunst", the "Haus der Deutschen Architektur" [House of German Architecture] should have been constructed, an exhibition space for architecture and applied arts, designed by Leonhard Gall.
But like most of the large-scale Nazi projects, these plans were never implemented.
The laying of the cornerstone of the "Haus der Deutschen Kunst" on October 15, 1933, was also intended to signal a renewal of German artistic life and to expose National Socialist Germany as a peaceful nation of culture in the eyes of the rest of the world.
Munich was elevated to the status of the "Capital of German Art" and correspondingly honored with an historic parade.
As with the laying of the cornerstone, the opening of the "Haus der Deutschen Kunst" on July 18, 1937, was a pompous spectacle. The "Day of German Art" was to be celebrated every year, but because of the war, 1939 was the last time it was held.
Chapter 3: 1937 - 1945
Following its opening, the "Haus der Deutschen Kunst" served as a demonstration of Nazi art policy and became its chief institution.
The annual "Großen Deutschen Kunstausstellungen" [Great German Art Exhibitions] staged here were considered the most important exhibition and sales events of German art.
Adolf Hitler’s vote was decisive for the selection of works. Each year he bought several hundred objects.
From 1938 to 1942, some of the exhibits were presented to an international public at the Venice Biennales.
Even though the exhibition of approved works only included a limited amount of obvious Nazi propaganda, they did suggest a value system that reflected the world view of the National Socialist regime.
A large percentage of the works were landscapes and genre paintings. Beginning in 1939, depictions of war assumed a significant position.
The "Großen Deutschen Kunstausstellungen" attracted several hundred thousand visitors annually. Even in February 1945, Hitler was ordering preparations for another "Große Deutsche Kunstausstellung".
At the same time, on July 19, 1937, confiscated works of modern art were being displayed in a defamatory manner in the exhibition "Entartete Kunst" [Degenerate Art] in the nearby gallery building of the Hofgarten.
Artists like Max Beckmann, Ernst Ludwig Kirchner, and Oscar Schlemmer, who were members of the avant-garde during the Weimar Republic, were forced to flee or go into internal exile.
Their works were removed from collections, sold abroad, or burned.
The exhibition "Degenerate Art" was presented in various cities in Germany and Austria. In Munich alone, more than two million individuals are said to have seen it.
Chapter 4: 1945 - 1949
When American troops marched into Munich on April 30, 1945, they found a largely destroyed city.
Although most of the museums and exhibition houses were severely damaged, the "Haus der Deutschen Kunst" remained virtually unscathed.
Since September 1942, camouflage netting had been used to protect the building from air raids. Because the building contained cooking facilities and had ample space, the American military government used it to house an officers’ club with a restaurant, a dance hall and several shops.
Basketball court lines and markings were painted in oil paint on the stone floors of the exhibition halls.
From 1946 until the end of 1948, the "Bavarian Export Show" in the East Wing presented industrial and commercial goods, art and craft, and fashion.
The West Wing was also used as an exhibition space. In January 1946, works from the destroyed Pinakotheks were exhibited there, including Dürer’s "Apostel" and Altdorfer's "The Battle of Alexander at Issus".
In the context of this exhibition, the institution’s original name, "Haus der Deutschen Kunst", was changed to "Haus der Kunst".
In July 1946, "The Youth Book" was shown, an exhibition which presented over 4,000 books for children and young people published in 14 countries, the first international event in post-war Germany.
In September 1949 Ludwig Grote organized the exhibition "Der Blaue Reiter" [The Blue Rider], featuring formerly ostracized works by Wassily Kandinsky, Franz Marc, and Paul Klee among others.
With this commemorative exhibition, which attracted considerable international attention, the former "House of German Art" was denazified, an observation articulated by Dieter Sattler, the then-secretary of state, in the opening speech.
"Der Blaue Reiter" was the first in a series of exhibitions with which Haus der Kunst opened itself to Modernism; in contrast, during the Third Reich, Haus der Kunst had been used to defame the avant-garde.
Chapter 5: 1949 - 1992
In order to provide artists with the opportunity to present and sell their works on their own again , in 1948 the newly formed artist’s associations – Secession, the New Group, and the New Munich Artists Cooperative – founded the "Ausstellungsleitung Haus der Kunst München e.V." [Exhibition Administration Haus der Kunst Munich; since 2014: Artists Association Haus der Kunst München e.V.]]
Since 1949 they have organized the annual "Große Kunstausstellung München" [Great Art Exhibition Munich] for this purpose as well. In the same year, the association celebrated for the first time one of the now legendary carnival parties, for which Munich artists did the decorations, that turned Haus der Kunst into a bastion of mardi gras celebration for the next 25 years.
Under the directorship of Peter A. Ade, whose reputation and vision influenced Haus der Kunst’s trajectory for more than three decades, the exhibition administration organized over hundred exhibitions in the east wing in collaboration with international art historians and curators.
Haus der Kunst became a renowned station on the international exhibition circuit. Major solo exhibitions were dedicated to artists such as Frank Lloyd Wright, Ernst Ludwig Kirchner, Le Corbusier, Oskar Kokoschka, Vincent van Gogh, Wassily Kandinsky, and Paul Klee.
A milestone was the Picasso retrospective in 1955 in which - for the first time in Germany – "Guernica", an icon of anti-fascist and modern art, was on view. International group exhibitions like “Brazilian Artists” (1959) and “Art USA Now” (1963) were also on show as well as cultural and historical themes, from "Kultur und Mode" [Culture and Fashion] (1950) to "Nofretete – Echnaton" (1976) and "Tutanchamun" (1980).
For the exhibition "Weltkulturen und Moderne Kunst" [World Cultures and Modern Art], which was organized on the occasion of the 1972 Olympics, Paolo Nestler created a special transparent extension on the garden terrace.
From 1980 to 2000, the West Wing was used by the Bayerischen Staatsgemäldesammlungen [Bavarian State Painting Collections] as the Staatsgalerie moderner Kunst [State Gallery of Modern Art].
It is here, in 1984, that Joseph Beuys installed his famous floor sculpture "The End of the 20th Century".
Chapter 6: 1992 - 2003
In 1992, Haus der Kunst was turned into a foundation, the "Stiftung Haus der Kunst München gGmbH", which was based on a model of public and private support.
Up to this point, there had been controversial public debates about whether the building, as a relic of the Third Reich, should be demolished or not.
Entrepreneur and art collector Josef Schörghuber promised to provide generous support to Haus der Kunst for at least ten years allowing it to remain a cultural institution in Munich.
In addition to the Schörghuber Group and the State of Bavaria, the Gesellschaft der Freunde der Stiftung Haus der Kunst München e.V. and the Ausstellungsleitung Grosse Kunstausstellung im Haus der Kunst e.V. were founding shareholders.
Christoph Vitali became the first director in 1993. His opening exhibition, "Elan vital oder das Auge des Eros" [Elan vital. The Eye of Eros], was a good example of a program that focused attention on the classical modern while at the same time taking into account certain positions in contemporary art. He set up certain thematic shows as sensuous experiences, like "Ernste Spiele.
Der Geist der Romantik in der deutschen Kunst" [Serious games. The Spirit of the Romantic Age in German Art] in 1995, or "Die Nacht" [The Night] in 1998.
The winter of 1993/94 saw an exhibition curated in cooperation with the Staatsgalerie moderner Kunst entitled "Widerstand – Denkbilder für die Zukunft" [Resistance - Thought Pictures for the Future], for which contemporary artists expressed their views about the institution’s Nazi past.
Chapter 7: 2003 - today
Chris Dercon, director of Haus der Kunst from 2003 to 2011, placed even greater emphasis on a commitment to contemporary positions. His programmatic idea was that architecture serves as a most congenial environment for contemporary art. This was a conviction he shared with the artists he invited to exhibit at Haus der Kunst, including Ydessa Hendeles, Bernd and Hilla Becher, Paul McCarthy, Herzog & de Meuron, Christoph Schlingensief, and Ai Weiwei.
With the project "Critical Reconstruction", initiated in 2003, the investigation of the structure's architecture and history experienced a deliberate new orientation.
Transformations to the interior that passed for "architectural denazification" of the building after the war, intended to cover up the unpleasant legacy, were largely undone in order to open a view onto the origins of the erstwhile National Socialist temple of art and allow an open examination of the space and its history.
Since then, the Middle Hall, used as the "Hall of Honor" by the Nazis as a backdrop of power, has also been used for international art projects.
Since 2012, the Middle Hall has been the venue for a new series of commissioned works: "DER ÖFFENTLICHKEIT – VON DEN FREUNDEN HAUS DER KUNST" [To the Public - from the Friends of Haus der Kunst].
Reflecting on the complex development that has shaped Haus der Kunst into what it is today is a process that has received new momentum under Okwui Enwezor, director of Haus der Kunst since October 2011. With its interdisciplinary programming, which is not restricted by geographic, conceptual or cultural boundaries,
Haus der Kunst has been able to create an additional critical context in which to examine, define, and convey both general history and the history of contemporary art anew. In 2016 the Alexander Tutsek-Stiftung was gained as a new main sponsor of Haus der Kunst. This support is designed to enable Haus der Kunst to further engage and expand its innovative approach.
Under the banner of “Renovate/Innovate” Haus der Kunst is currently undergoing the planning phase of the comprehensive renovation of the 24,000 square meters building.
The forthcoming renovation and restoration, of which has been awarded to the internationally renowned architects David Chipperfield Architects, will include the integration of the west wing, thereby increasing the functional space to approximately 8,000 square meters. This will open up new perspectives for Haus der Kunst and its program, thereby increasing its regional, national and international appeal. The construction work is due to begin in 2020.
Are Bees Territorial? Sometimes. If you are a male. And if you are big. I had not really thought in any systematic way about territoriality in bees until I was looking up information about the bee in this picture (Centris adani. Costa Rico, Tim McMahon collector). My literature poke revealed that colleague Gordon Frankie had published on this long ago in the 70s about territoriality in male C. adani. Off hand I can think of territorial males existing in at least some Anthidium, Xylocopa, Centris, Anthophora, Bombus. Makes me wonder if small bees might sometimes also be territorial but we just aren't observant enough to discover that fact. But, I would bet not, probably just a big bee thing. If you are territorial it has to be useful or why bother? Probably has to do with mating opportunities. Which leads to another weak observation: In general, highly territorial males are both praised and denigrated in human society. What is the intersection between those two thoughts? It feels fuzzy, ... but intriguing. If there is not a scientific paper there, there must be at least a novel. Perhaps a high end Romance Novel. ~~~~~~~~~~{{{{{{0}}}}}}~~~~~~~~~~
All photographs are public domain, feel free to download and use as you wish.
Photography Information:
Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
We Are Made One with What We Touch and See
We are resolved into the supreme air,
We are made one with what we touch and see,
With our heart's blood each crimson sun is fair,
With our young lives each spring impassioned tree
Flames into green, the wildest beasts that range
The moor our kinsmen are, all life is one, and all is change.
- Oscar Wilde
You can also follow us on Instagram - account = USGSBIML
Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Best over all technical resource for photo stacking:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World:
www.amazon.com/Bees-Up-Close-Pollinators-Around-World/dp/...
Free Field Guide to Bee Genera of Maryland:
bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
Bees of Maryland Organized by Taxa with information on each Genus
www.flickr.com/photos/usgsbiml/collections
PDF of Basic USGSBIML Photography Set Up:
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
Please, don't ask me to explain, read the news online.
It is too painful for me to explain how our premier speaks about a big part of us... :(
Hope on April 9/10th we'll defeat him!
ROME (Reuters) - Italian Prime Minister Silvio Berlusconi's use of an obscenity, "coglioni", to denigrate his adversaries raised the heat of campaigning on Tuesday five days ahead of a general election.
Berlusconi, during an address to a shopkeepers' group, used a slang word for testicles to describe center-left voters but the term is commonly used as a crude insult to describe someone of little intelligence.
Common translations of "coglioni" in British and American dictionaries range from "idiot", "cretin", "fool" and "moron" to "prick" and "asshole".
"I have too much esteem for the intelligence of Italians to think that they could be such 'coglioni' to vote against their own interests," Berlusconi told the group. "Excuse my rough but efficient language."
The incident rocketed to the top of the national news and center-left politicians led by former European Commission President Romano Prodi criticized Berlusconi, who is behind in the latest opinion polls.
"With all the respect I have for (Berlusconi's) voters I would never use that anatomical term we heard today used about us," Prodi said.
"Berlusconi is no longer fit to lead our country."
EYE FOR AN EYE?
Berlusconi, who has repeatedly accused his opponents of showering him with insults during the election campaign, later defended himself, saying his comments were intended to be "ironic" and were being "manipulated". His spokesman said an opposition politician had used the same word recently.
The Democrats of the Left (DS), the largest party in the center left, said Berlusconi owed an apology to the more than 16 million Italians who did not vote for him in the 2001 elections.
This is what happens when an engineer runs out of electricity to power his domicile and is left with his dogged, stale imagination, a few self-made LED Throwies and a LED torch wrapped in violet sheath. The light on my face is triggered by pulse modulated LED illumination and the light trails are hand propagated with the torch previously mentioned.
The possessed guy standing in the middle is ME , by the way :D I had my earphones in my..err..ears constantly playing "Are We In Trouble Now"-by Mark Knopfler.
I was going to call this "When Poltergeists attack" and then thought "Something latin would be so much cooler."
...and oh, I'M BACK BITCHES! GOT MY STITCHES CUT TODAY.
Crazy Fact: I don't know why or when, but apparently I wrote "Fiat Lux" inside the flaps of my money bag sometime ago...possibly while pondering upon something composed by Abba.
# Taken with the Nikon D90
# Unedited , cropped in Adobe PS
# Taken in "The Bulwark of Bariwala Haroon"
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Oh, almost forgot...Larger and denigrated...although, nothing too special this time.
The progressive lie in science and society.
The essence of the ‘progressive’ lie, in science and in society, is a denial of both the intrinsic natural order, and the natural tendency towards physical and cultural/social entropy.
In hypothetical science, progressive cosmic and biological evolution deny the basic principles of causality and universal entropy, effectively undermining truth in science.
Although presented as science, they are both scientifically incongruous.
If your initial paradigm relies on the denial of fundamental scientific principles or natural law, it spectacularly fails. To call it ‘science’, discredits the perception of science as an objective search for truth.
To present an hypothesis wherein an effect is greater than its cause, and which requires a naturally occurring, autonomous increase in order, is preposterous fantasy.
Negating the effects of entropy, both physically and culturally, requires an active, sustained input, or renewal of, directed or guided effort/energy. (i.e. energy/effort + information, instructions or rules).
In the social and political field, indifference to, and denial or encouragement of, cultural entropy, masquerades as progressive.
Progressive politics derives from, and is allied to, this denial of intrinsic natural law and fundamental principles. By opposing or negating those guiding principles and rules, which are based on maintaining the natural order, it encourages and supports an insidious, social entropy, which inevitably undermines and ultimately destroys civilised society.
Just as the atheistic purveyors of physical evolution, cosmic and biological, posit the progressive development of order in the universe by denying the laws of cause and effect and entropy, which are fundamental principles of the natural order and science. So, the social allies of physical evolution, the purveyors of cultural and societal evolution, propose a progressive improvement of society, based on a similar denial of the natural order.
False equality and unjust denial of genuine equality:
Rejection of the natural order has spawned an insidious, egalitarian deception.
Demands are made that things which are clearly not equal should be treated as equal, and things that should be equal are denied their rightful equality.
Proponents of so-called, progressive policies seek to impose socially, and even legally, ideas of equality which ignore the natural order.
Equating things which are not equal, demanding equality for things which can never be equal, is quite bizarre, irrational and unscientific. That which violates the natural order is thereby elevated to parity with that which is in conformity with the natural order, diminishing the perception, approval and societal support of the latter.
It is a gross injustice to undermine and degrade social recognition and acceptance of the benefits of compliance with the natural order. Truth and error are not equitable, regardless of any legislation which decrees they should be regarded and treated as though they are.
A couple of examples:
Same sex marriage...
Traditional marriage is undeniably compatible with the natural order, socially, scientifically and theologically.
Biologically, the reproductive, and only, purpose of complementary, sexual characteristics is irrefutable. This scientific fact has been traditionally recognised, socially and theologically, in the institution of marriage, throughout history. The only reason marriage exists is because of this biological fact. There cannot be legitimate equality for any so-called marriage/sexual partnership which is not based on this fundamental principle of the natural order.
The unjust denial of genuine equality:
Abortion...
Biology, through the study of genetics and embryonic development, decrees (without doubt) that a unique, human life begins at conception. There are no ifs or buts, this fact of the natural order is supported by science and, traditionally, through theology and the legal system. Any denial of equality for unborn, human babies is illegitimate, grossly unjust, and contrary to basic human rights.
Human institutions attempt to counter social entropy and maintain order through social constructs; tradition, convention, etiquette, customs, religion, contracts, charters, treaties, laws etc., but the enduring success of these depends on how closely they conform to the natural order.
The success of Western civilisation was mainly attributable to its clear understanding of physical and cultural entropy. Christianity was rightfully endorsed as the supreme antidote to cultural/social entropy.
This is perfectly logical because, as the Bible makes clear, physical entropy is the result of an originally, perfect creation sullied by sin.
Likewise, in society, sin is the cause of social entropy, it undermines the natural order and ultimately destroys civilisation. If you break rules which serve to maintain the natural order, you inevitably wreak havoc.
Christianity seeks to retain and, where necessary, restore natural order in society, combating the tendency towards social or cultural entropy by instilling principles and rules which respect and actively defend the natural order. Just as physical entropy is only negated by a sustained input of directed energy/effort, so social entropy is only negated by an enduring adherence to binding rules and principles. The adherence to such rules and principles by humans, who have a propensity to rebel against the natural order (behavioural entropy, inherited from our first parents; Adam and Eve), can only be reliably maintained by an input of spiritual energy/divine, sanctifying grace.
It is a perverse society, which applauds as ‘progressive’, those who rebel against, and deny, the natural order and laws, while appropriating science and culture to suit their regressive, ideological agenda (contrary to fairness, justice and basic human rights). Their denial of fundamental principles appears to be scientifically and socially legitimatised through corrupt, propagandised education, media hype, and intense political lobbying.
The arrogant claim of ‘progressives’, to hold the rational, scientific and ethical high ground, is bogus and dangerous.
The opposite is true.
To rail against the natural order is irrational and unethical. It undermines truth and unjustly denigrates everything which is compliant with the natural order. True science, morals and ethics must wholly respect fundamental principles and the natural order. Christian teaching is based on loving, maintaining, respecting and honouring these basic truths of the universe evident in God’s creation.
ALL atheistic, natural origin of the universe, scenarios are false.
www.flickr.com/photos/truth-in-science/32557999087/in/dat...
If and then - the atheist dilemma.
www.flickr.com/photos/truth-in-science/46553358861
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
The reason the elite hate Trump so much is because he is opposed to the one world agenda of the globalists.
endoftheamericandream.com/archives/the-reason-the-elite-h...
Why satanism is now on the center stage in the culture war.
www.crisismagazine.com/2019/why-satanism-is-now-on-the-ce...
31 Amigurumi in October - 9 of 31
Gargamel the sorcerer is the sworn enemy of the Smurfs. His main goal in life is to destroy the Smurfs or to capture enough of them to create a potion to turn base matter into gold. Gargamel lives in a run-down hovel with his mangy cat Azrael. Gargamel frequently denigrates, insults, and abuses Azrael, but he does in fact love him.
Gargamel, Azrael, and the Smurfs belong to Peyo and Hanna Barbara
Moon Buns are designed by M. Bridges and are protected by law. ™ & © 2007-2011 M. Bridges
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
Winchester RE Running Day 7 November 2021. King Alfred looks down on London Transport MB90, but not by way of denigration. This 1968 AEC Merlin (Swift) has MCW bodywork and is owned by Peter Comfort.
British "Real Photograph" postcard by Raphael Tuck & Sons, no. 93. Photo: Gaumont-British.
English actor Tom Walls (1883-1949) was a popular character player on stage and in films, and also worked as a film director. He is indelibly associated with the popular Aldwych Theatre farces of the 1920s and 1930s and was one of the most influential figures in British comedy.
Tom Kirby Walls was born in Kingsthorpe, Northampton, England in 1883. He was the son of a plumber and was educated at Northampton County School. After leaving school, he spent a year in Canada. On his return, he was he worked for a brief time as a busker (street entertainer), a jockey, and an officer in the Metropolitan Police Force. After these false starts, he settled on a stage career. In 1905 he made his debut in the pantomime Aladdin in Glasgow. He toured America in 1906 and 1907 and on his return to England he made his London debut at The Empire Theatre in Sir Roger de Coverley (1907). He remained at the Empire (as well as touring) in musical comedy for the next two years. By 1912 he was firmly established as a West End star. He had a principal role in the musical Kissing Time (1919) and in Whirled into Happiness (1922). In 1922, Walls also co-produced with Leslie Henson the farce Tons of Money at the Shaftesbury Theatre. The farce, in which he also starred, ran for two years at the Shaftesbury Theatre. He made an early foray into the cinema co-producing the film version of Tons of Money (1924, Frank Hall Crane), though he didn't reprise his role. For their next project, It Pays to Advertise, they moved to the Aldwych Theatre. Thus they inaugurated the Aldwych Farce series of comedies in which silly upper-class twits become entangled with inconvenient young ladies just as all the suspicious wives, battle-axe mothers-in-law, and henpecked husbands show up at once. Gary Brumburgh at IMDb: “ As the star and producer of a succession of witty spoofs typically denigrating society's upper crust, he often played the slick cad. Written expertly by Ben Travers and in tandem with fellow comic extraordinaires Ralph Lynn and Robertson Hare, the shows were chock full of sight gags, puns, double entendres, and slapstick.”The farces featured an ensemble cast that also included Leslie Henson, Yvonne Arnaud, Mary Brough, Winifred Shotter, Claude Hulbert, and others.
When the sound film arrived, Tom Walls moved his focus away from the theatre and into films. He functioned as both star and director in the first Aldwych-produced farce transferred to the cinema, Rookery Nook (1930, Tom Walls) co-starring Ralph Lynn and Winifred Shotter. The madcap nonsense was a smash box-office success. So several of their classic stage shows were filmed, including Plunder (1931, Tom Walls), A Night Like This (1932, Tom Walls), Thark (1932, Tom Walls), Turkey Time (1933, Tom Walls), A Cuckoo in the Nest (1933, Tom Walls), Dirty Work (1934, Tom Walls) and A Cup of Kindness (1934, Tom Walls). More or less all of them were presented as photographed plays. Walls directed seventeen films till 1938 and acted in most of them. In 1937 he and Ralph Lynn were voted the seventh most popular British stars by local exhibitors. He directed his last film towards the end of the 1930s, Old Iron (1938, Tom Walls) with Eva Moore. When the economics of the industry changed with the new Cinematography Act, Walls went back to the theatre. He returned to films as an actor only. His career waned following the decade, but he was still seen in a number of films, both comedic and touchingly dramatic. In the war film Undercover (1943, Sergei Nolbandov), he played the father of a guerrilla resistance leader (John Clements) in Nazi-occupied Yugoslavia. Walls continued to act as a character actor until his death, essaying a variety of twinkle-eyed old scoundrels. His final film was the thriller The Interrupted Journey (1949, Daniel Birt) starring Valerie Hobson. His great passion outside of show business was horses. His productions had made him very rich and by 1927 he had his own racing stable. He moved to Ewell, Epsom, home of The Epsom Derby, and triumphed there in 1932 with his colt April the Fifth which he trained himself. In all, he trained about 150 winners (total wins) up until 1948. He was also a regular rider with his local foxhounds. However this expensive hobby took its toll and by the time of his death he was insolvent At 66, Tom Walls passed away in 1949 in his home near Edwell, England. He was married to Hilary Edwards. With their son, Tom Walls Jr., he made two on-screen appearances, Spring in Park Lane (1948, Herbert Wilcox) and Maytime in Mayfair (1949, Herbert Wilcox), both starring Anna Neagle and Michael Wilding.
Sources: Hal Erickson (AllMovie), Gary Brumburgh (IMDb), David Absalom (British Pictures), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
Animus and Anima are present in all modes of consciousness. The masculine and feminine both manifest themselves consciously in qualia (feeling a baby kick in the womb) in the subconscious and unconscious (releasing progesterone during pregnancy to stop ovulation, producing semen, the focus arising from testosterone) and in the collective unconscious (masculine and feminine roles structure collective experience, language, literature, etc.)
Animus has distinctive notes that must be expressed in the mode of Anima where Anima predominates. For Jung, the distinctive notes of Animus are Power, meaning, and self-consciousness. Power is the predominant mode of animus in primitive experience. Here the paradigms are the hero (Achilles, Beowulf), the cowboy, the athlete. The paradigm manifests competition, drive, determination, authority, superiority. This level of Animus has many expressions in Anima: the figure skater, female gymnast, powerful queen, grizzly-mother, activist, office manager. Where meaning and self-consciousness are measured by relationship to God or in religious terms, there are also clear modes of equality between Animus and Anima: Animus makes theologies and disputes over abstract concepts; Anima has personal, mystical insight within the religious-wisdom tradition.
The problem arises when self-consciousness is defined through the inherently abstract, impersonal, and fundamentally subjugative mode of technological accomplishment. Anima has yet to find a way to express itself in this mode, and so finds itself fundamentally alienated. This is the problem of Anima in the contemporary world, and it is not clear whether valuing technology in this way can be just. But this does not bode well for technology, since Anima simply will not tolerate this sort of exclusion from the highest mode of consciousness for long.
“The problem arises when self-consciousness is defined through the inherently abstract, impersonal, and fundamentally subjugative mode of technological accomplishment. Anima has yet to find a way to express itself in this mode, and so finds itself fundamentally alienated.”
Which sort of technological accomplishment do you have in mind here?
I guess when I think of technological trends in the last 10-20 years, a significant number have been toward an increase in social functions (Facebook & other social media, texting, Skype), intuitive interface (iPad, Nintendo Wii), and personal customization (iPhone, Android). Rather than abstract and impersonal, they are becoming normal elements of everyday social interaction and personal expression.
The use of technology (used broadly to include biotech, machines, etc.) and science can always be personal and integrative, but its the making of the stuff that is seen as the height of self-consciousness and human achievement. We’ve exalted the mastery and dominance over nature in thought and praxis as the ideal, and Jung’s claim is that we have yet to find a way in which Anima can express this. This has led some to deny the value of Anima and say either that liberation requires assimilating all to the masculine or that masculine and feminine mere constructions imposed on a sexless substrate. But what could be more male than to see “person” as an objectively sexless substrate? This is exactly the sort of depersonalized abstraction that is alienating Anima in the first place. Both ideas involve the grossest sexual injustice.
Note that, while on the first level of approximation this will lead to an obvious tension between the sexes and a subjugation of women, Animus and Anima are definitive characteristics in all persons. To put it concretely if crudely, men have estrogen and women have testosterone. While the problems set down above is primary a problem with alienating women, the problem will manifest itself in another way by alienating the proper expression of the Anima in male life too.
Okay. That helps. Perhaps the problem is that modern technology arises from a largely Animus-dominated scientific progression, focusing on impersonal laws and mechanisms in the first place. I’m not sure what the Anima parallel might be, but I guess it is easier for me to imagine something arising in the future altogether different than the technology in question than to see some significant way in which Anima could modify or fit into what we have now. The way you put it, it seems like a square peg/round hole problem, akin perhaps (acknowledging that both men and women have Animus and Anima) to the protests of some modern feminists today that the liberation women achieved in the past was that women could do everything a man does like a man, but that she still is not honored to do specifically feminine things as a woman, e.g. having special breaks at work after childbirth to beastfeed her child or pump milk. I’m not sure if that is the most helpful example, but it’s the best I can do.Emma Jung (1880-1955) was wife of psychiatrist Carl Gustav Jung (1875-1961) for more than 50 years and, also for many years, was one of the directors of Carl Gustav Jung Institute in Zurique, where she gave lectures and worked as a psychotherapist and supervisor. Twelve important works (from 1931 and 1955) are together in this book; the book was published in Jerusalem in 1967 and only now in Portuguese. Jung's psychology, the animus and the anima are forças mentais that, among other activities, form laços between (1) or collective unconsciousness, that is present from birth and that is genetically (biologically) determined, and (2) the unconscious person, that is the product of all the experiences of a person in the environment. Animals and animations also have important functions in the sexual identification of a person and in forming relationships with people of the opposite sex. In Jung's terminology, these are special types of archetypes. For the last few years, C. G. Jung's psychotherapy theories and techniques are attracting ever-growing attention. Jung is not suffering the progressive decline of interest that other psychiatric psychiatric writers, such as Freud and the various post-Freudians, are suffering. It is provable that in large part the persistence, and even the increase, of Jung's influence is due to the fact that Jung's psychology combines well with religious points of view. Only Jung, among the great pioneers in psychology and psychiatry in the 20th century, has this quality. Jung also has, and always has, a wide audience, especially among people who are interested in spiritual matters. In order to satisfy the growing interest of Jung in Brazil, Editora Cultrix, besides this volume, published in recent years more than a few vintage or other classic works of Jungian literature. It's clear that many psychiatrists and psychologists cannot accept Jung's basic theories. They cannot agree with the Jungian theses that (1) complete mental health requires an extensive development of forces (arquétipos) that have potential for religious expression, and that exist since the birth of collective unconsciousness in each person, and (2) one of the fundamental functions of psychotherapy is to help that spiritual development. Still, it is clear that psychiatrists and other professionals in the field of mental health are updated on important currents in the various branches of our profession, and this book by Emma Jung deals with a significant aspect of the Jungian psychological system. Readers who have accepted, or are willing to accept, Jung's points of view will make this book interesting enough, but readers who cannot afford to accept Jung's theories will try to make many speculative parts of it.
Practising psychotherapists in the West are becoming
familiar with the emergence of the psychological
problems that are affecting “liberated” women. A large
number of women who are highly successful and
competent in outer terms are plagued with a deep-
rooted inner feeling of worthlessness, lack of value and
inferiority. The conventional approach to this malaise
has been to ascribe it to psychological overloading, ME
or the necessity for these women to become yet more
ambitious and striving.
The Jungian concept of the animus is particularly suited to dealing with the problems facing the new women. Jung discovered that the human psyche was androgynous
and consisted of both masculine and feminine. Because of gender-identified ego-development, however, the masculine element in the woman and the feminine element in the
man remain unconscious and undifferentiated. When any psychological content is unconscious it follows two courses – either it becomes projected outwards onto an external
object, or leads to identification with it.
While a woman’s animus remains unconscious it too will follow these channels for expression. Whilst the “unliberated” woman will project her animus outwards through
romantic novels, stereotyped relationships and an existence lived through the men in her life, the liberated woman falls into the other side of the trap, i.e. she becomes identified with her animus and loses the vital link with her feminine identity, living on a false (for a woman) masculine level. Such a woman will then find herself in a double-bind situation, where her idealisation of the masculine leads her to denigrate the feminine. Considering the thousands of years of the patriarchal inflation of the male principle it is hardly surprising that women who introject this find themselves in the grip of a tyrannical, powerful and judgemental force that undermines their individual identity. ’Together with this the woman also introjects inferior images of the feminine, images that are based on the two classic reactions of the male to the female: horror and fascination. The witch at one end of the pole suggests woman in her demonic aspect, devouring, ugly, isolated, and phallic, representing everything that is despised and rejected in the feminine. The enchantress on the other end of the pole is sexually voracious, a siren and a Circe who traps men and turns them into swine. On the individual level
each woman carries this rejected aspect of the feminine in her shadow side.Women who are presenting with this problem in analysis will often have initial dreams of witches, hags and down-and-out women, which is how they see themselves unconsciously. Thus identified with the negative side of their shadow they find that the moment the animus emerges it allies itself with the shadow, leading at the moment of greatest outward animus-fulfilling achievements to the most dejected feelings of inner worthlessness.
The Father Complex
Because the first carrier of the woman’s animus is her father the condition and force of her personal animus will be determined by the father-complex. If her father has been
too strong, she will internalise the voice of judgement and critical authority. If he is too weak, she will have no opportunity for internalising the masculine and will lead a
vegetative, unconscious existence, ready to serve the projections and needs of all the male forces in her life. The animus also provides a woman with the ability to question,
think, and for spirituality. It must not be forgotten that the animus does have a positive role to play in the psychological development of women. When it is activated
in its positive aspect, it releases positive masculine energy, focused attention, concentration and every quality associated with logos thinking, the ability to connect in consciously with what was previously unconscious. It can also be a positive “father-force”, carrying encouragement, protection, principle and containment. In dreams the animus can appear as collective body of men, soldiers, sailors, jury, committees and other symbols of masculine authority. It can also appear as the father, brother, lover, husband, son or other male figure from the dreamer’s life. More undifferentiated animus symbols includes clouds, wind, rain, thunder, penetrating phallus,
animals such as snakes, bulls, horses and dogs. In its more collective archetypal force the animus can appear as a king, a warrior, a wise man as well as mythological figures such
as Pan, Adonis, Dionysus, Appollo and Hermes.Apart from the father aspect of the animus in its mantel of law, order, authority and establishment, the animus also presents itself in the unexpected guise of the trickster both on the outer and the inner plane. In this aspect, the animus is an amoral dissolute adventurer who yet performs the necessary function of releasing the woman from the tyranny of established law (father) to a life of adventure, instability and subversion. On
the outer level, women often get involved with Don Juans with whom they can only enjoy a transient non-committal relationship which they can use as a tool of rebellion
against an authoritarian father. On the inner level too the trickster-animus has a similar function, providing a woman with a counterpoint against the father-animus. Pan,
Hermes, monkeys, goblins, dwarves, knackers, clowns, harlequins, leprechauns etc. are images of the trickster in dreams. Over a period of time, the trickster has a way of evolving from an amoral, half-human creature to its rightful function as a symbol of transformation and then it appears increasingly in dreams in the various guises of Hermes, ringing bells, knocking on doors, demanding attention, bearing gifts, guiding journeys, and generally being indispensable in the woman’s psychological development.
It is important to keep in mind that as in any psychological process, there is no strict logical order; the analysand is having to deal with different aspects of the animus at the
same time, and this will be reflected in her dreams. It will generally be well into the process of differentiation when dreams contain different aspects of the animus. When this
happens, it is important to pay attention to what is presenting, allowing the woman to reclaim what is hers and reject that which is psychologically alien. A woman engaged in
this process dreamt:
”While my father, my husband and I are out of our flat, my maid has let in a 14 year old boy who had come selling sachets of herbal perfume. He needs a job as he is quite poor, and there is something very honest
about him. My father sees red, and says he will only break things. But the boy assures me he is very careful and always pushes back drawers that he has opened. I have a struggle with myself, my first instinct being to listen to the better judgement of my father. But then I decide that I can find a job for the boy, he can take charge of the daily shopping for
groceries.”The dream indicates a distinct turning point in the dreamer’s struggle for liberation from an idealised father. The boy is the new emerging personal animus who will be in
the service of the woman, the rightful place psychologically speaking for a woman’s masculine element. Both perfume sachets and shopping indicate the feeling values, which is
what the dreamer needs to balance her thinking-orientated activities. The boy is very careful to push back the drawers which to the dreamer held contents that were intimate,
for instance jewellery and underwear. So this animus can be entrusted with exploring the secrets of her psyche whilst yet providing a container that is safe and private. This would be yet another function of the positive animus.The above dream occurred about two years into the woman’s analysis. Her previous dreams had consisted of negative male figures constellated both by her father-complex and her partner. In its negative aspect, the animus constellates as the inner critic, judge, sadist, murderer, evil magician and the proverbial cad who constantly informs the woman that she’s ugly, worthless, stupid, and unlovable. It disrupts all the feeling-relationships
of the woman, in the face of all reality “proving” to her that her partner doesn’t love her. This is the inner critical voice that every woman has heard. It always strikes when something has already occurred to shake the woman or when she has been very successful, to deflate her. This inner tyrant holds complete sway and she finds herself yielding areas of her life that gave her pleasure and enrichment. Every time she tries to enjoy a well-deserved rest or treat the animus will taunt her with the accusation that she’s wasting her time, she’d be better off doing something “productive”.This is the introjected father-turned-judge who lays down the laws of acceptable behaviour and feelings. It convinces us that if we go against these dictates we are letting some authority down. In the presence of this voice every woman will be made to feel
like a silly little girl, who possesses no dignity in her own right.
The Inner Tyrant
The classic manifestation in dreams of this inner tyrant is as a Nazi imprisoning the woman in a concentration camp. If we keep in mind that the Nazis considered themselves Ubermenchen (Supermen) we can see how apt a symbol of this inflated masculine the unconscious has chosen. Women often have dreams of trying to escape from a camp,
being chased or shot at by the Nazi guards. Rapists, killers, and burglars are also common symbols. As well as violation, invasion, mutilation and dismemberment all indicate the
masculine principle turned awry and attacking the feminine identity. The following is a dream of a 26 year old woman before analysis:“It is night-time. There is a young, beautiful homosexual man inside a military camp. Outside the military camp, under a street lamp, sits a dwarf in a wheelchair. The young homosexual man passes by. The dwarf
calls him over as if asking for help. When the young man comes up to the dwarf, the dwarf pulls out a big knife and cuts the young man up in pieces.”The violence perpetrated in this dream is on the emerging personal animus. The young, beautiful aspect of the animus has an ambiguous masculinity, i.e. he is homosexual. The young and beautiful also suggests a narcissistic quality which in fact is a reflection of the dreamer’s father who suffered a narcissistic personality disorder. The dwarf is a stunted animus who is guarding the military camp and who cuts up the young
animus with a huge (and phallic) knife.The experience of sexual abuse can greatly affect the woman’s introjection of the masculine. When this has been the case the analyst has to take special care to disentangle the symbolic from the literal. For instance, a woman who had been sexually molested
when she was eight, as an adult often had dreams and fantasies of being attacked by several large penises. She also felt extremely uncomfortable with male physicality. During
the course of the analysis the possibility that she had been abused began to emerge. In her case, the invasion by the masculine had been a literal one, and had contaminated her
animus so that the animus too had turned against her. She was obsessive about her work, cut off from feeling type activities, highly successful but also with an inbuilt feeling of
worthlessncss which reflected her damaged femininity. The task of therapy was to cut down the animus to size by enhancing and encouraging the feminine.
The Wise ManAnother aspect of the animus is the Wise Man, the man who knows everything, whose function it is to inform, guide, teach and lead us. In its positive forms this is the archetype of wisdom. Like Moses or Solomon this man can relate to an idea in a subjective way and represents the true thinking function which is not split off, cold, sterile and objec
tive as it is assumed to be, but passionate and original However, if the woman identifies with the wise man archetype, she can become totally, and dangerously, caught up with the ideal way to be, invaded by the “spirit-father”. She will then seek achievement in masculine spiritual and cultural terms seeing herself as a sybil, a genius or a pure unearthly angel untainted by the blood and flesh of her feminine identity. Or she could live out this fantasy vicariously, through serving as the anima of some great man.Identification with any aspect of the animus, negative or positive, incurs the enmityand wrath of the Great Mother archetype (the mature feminine) which turns negative and appears in the woman’s dreams often as a witch, devouring, malignant. The negative great mother can also manifest in physical symptoms such as irregular menstruation, amenorrhoea and fertility problems.
High-achieving, animus-possessed women can also suffer from compulsive disorders such as bulimia or anorexia nervosa. Because of the lack of a strong female matrix, the
body is attacked by the negative animus, and the woman becomes split off from the feminine. Women who suffer from these disorders will in fact often acknowledge that it is
their own femininity they are attacking, and will often say that it is an internal dictator who drives them in such a regimented and forceful way to the brink of death. Angelyn Spignesi, in “Starving Women” quotes an analysand who describes the “morbid urge which rules her” as “an enemy, a man with a drawn sword, or an armed man who surrounds me and stops me whenever I try to escape his domination.”The animus possesses such extraordinary power within the woman’s psyche because it is an archetype. It is impersonal, inhuman and autonomous. If we don’t relate to it and allow it a conscious channel, it can obliterate the ego-identity. It has a life of its own, which is not under human control. Barbara Hannah pointed out that the animus jumps in whenever the feminine ego is not functioning, choosing and discriminating.
Emma Jung wrote that women have need for the spiritual. When this need is denied, the animus appropriates the Self.
Jung, in the Visions Seminars , wrote that “the animus is a very greedy fellow, and everything that falls into the unconscious is possessed by it. He is there with open mouth
and catches everything that falls down from the table of consciousness….if you let some feeling or reaction get away from you he eats it, becomes strong, and begins to argue
.” So becoming more conscious of her thoughts, feelings and values is crucial to the woman. This is particularly so as regards hurt feelings which if not expressed in a related way,
can turn into animus attacks. These attacks take the form of being caught or possessed in a spiral of rage, which gathers, momentum and leads us on to say the most appalling
things. The animus can damage marriage or close relationships by cutting off the feeling function, and also by unconsciously engaging the man’s anima. When the anima and animus begin to argue they are fed by a store of suppressed feelings of anger, resentment, envy, power, coldness and fear, each fed by the parental complexes of the partners.
Redeeming the Personal Father
In dealing with the problem of the animus the therapist will first have to deal with the father, since the main problem of the animus is constellated by the father-complex.
The woman’s main task in this process is to redeem her personal father, or rather her inner relation to her father. By attempting to see her father in both his dark and light
side she can get out of the trap of being caught in opposite sides of a spectrum which is what gives a complex its force. The dark side of the father consists of anger, lack of con
trol and incompleteness, the positive side offers power, generosity and creativity. But as long as the woman is caught in an idealised/rejecting pole she will be disowning elements of her own psyche. Being whole also requires the withdrawal of projections by reclaiming the parts of ourselves that we have projected externally. Because the father
also represents authority and something, by rejecting him the woman is also rejecting her own authority. If the woman’s attitude to her father is too idealised on the other hand, it will have the effect of cutting her off from her own professional capabilities. She will only be able to succeed on her father’s terms, and will have great difficulty in accepting and devel
oping her own talents. They will always appear slightly inconsequential to her. Too positive a relationship to the father can also prevent the woman from having a real re
lationship with another man, as any prospective partner will be compared to the idealised father and inevitably found wanting. To internalise the father principle, the woman then
has to break the idealised transference to her father by acknowledging his negative side. Linda Schierse Leonard, writing in “To Be a Woman” (3) says that “ultimately, redeeming the father entails reshaping the Masculine within, fathering that side of ourselves. Instead of the “perverted old man” and the “angry, rebellious boy”, we need to find the Man with Heart, the inner man with a good relation to the Feminine.” The emergence of this man with heart was signalled for an analysand in the following dream:“A friend of my partner’s called Sweetman has called on me. He has a briefcase in one hand and a doll in the other. He says that the doll had gone bald but he had transplanted hair back onto its head. He never went anywhere without it now.”The bald doll represents a sterile logos, thinking without heart. One is reminded of Yeats’ “Bald heads forgetful of their sins”. By restoring hair, Sweetman restores to it the crowning glory of the feminine. This is the man who is sweet, who has found a balance between the masculine and the feminine. Now he never goes anywhere without the feminine.Of course the integration with the feminine is still only in its formative stages, since it appears as a doll, but its a start and this analysand’s subsequent dreams show how the doll becomes a flesh and blood woman, a positive shadow figure who is “at her side”.
Strengthening the Feminine
Apart from redeeming the father and the masculine the woman, in her efforts to humanise the animus, also has to strengthen the feminine within her. This means not only
restoring value to the feminine in the face of patriarchy and her own rejection of the feminine but also to acknowledge her female ancestors. Modern woman, in order to free herself from the shackles of subservient femininity also rejects her mother and the collective archetype of femininity. The conscious separation from the mother’s model of life and marriage also separates the woman from the emotional and instinctive part of herself. So an intrinsic part of the healing will be to develop a strong feminine container, which can reconcile the woman to her nurturing, receptive, biological identity. The therapist’s role is crucial to this process in providing a safe maternal container. The unwary therapist can worsen matters at this stage if he/she has political feminist views which are concerned with liberating women from the feminine rather than liberating them to be feminine. Counselling the animus-identified woman who secretly feels inferior to be more assertive and ambitious is the worst possible thing. In fact, the therapist has to make it possible for the analysand to be more receptive, intuitive and feeling.
Rituals are particularly good for grounding in the feminine. Anything that the patient relates to is valuable e.g. drawing, sculpting, clay-modelling, dancing, knitting. It enables the patient to act out the boundaries outside that she’s trying to create inside. Rituals provide containers which allow one to play within a pattern. Acting them out can be tremendously healing. I have found rituals to be of particular help to women suffering from eating disorders. Women should also be warned against sacrificing their personal instincts and feelings for an ideal, an achievement or external goal, a particularly strong temptation for the conscious female. Animus, being very goal-oriented keeps woman on the move. Whenever this voice dictates, women should try and resist it, by taking time off or treating themselves. Humour can quickly restore a sane perspective, deflating the pompous self-importance of the animus. Indulging oneself in trivialities too can be very healing. One woman, in the grip of her animus, dreamt that she was in a large store in Grafton Street looking at little trinkets. She then bought a perfume called “Sweet Nothings”.The dream was a gentle hint to pay more attention to the sweet nothings of life. Caught in the grip of the animus, a woman feels cut off from precisely the sweetness of life. Activities that help us to use our feeling function of relatedness are perhaps the best antidote to the grip of the animus. Taking time off to play with the children, giving attention to a pet, cultivating a garden, these are all activities that centre around nurturing life. They have to be undertaken in a very deliberate manner, even though this might seem unspontaneous at the time.
Channelling Energies
If a woman is in the grip of the “spirit-father: (see above) animus, she can be caught up in thinking that she is a creative genius or get involved in some project that is vague and inflated. At this time, what is needed is a very specific project that the woman can channel her energies into. This grounds the high-flying animus, at the same time of fering it a channel for its energy. Emma Jung wrote in “Anima and Animus” that “confronted with one of these aspects of the animus, the woman’s task is to create a place for it in her life and personality. Usually our talents, hobbies and so on, have already given us hints as to the direction in which this energy can become active. Often too, dreams point this way, and….will mention studies, books, and definite lines of work, or of artistic or executive activities”.
Confronted with the difficulties that the animus creates, women sometimes wonder whether it is not best left alone. The animus in fact is extremely important in the psychological development of women, enabling her to extend her consciousness, and through the capacity for objective, independent thought, allowing her to reclaim territories of her psyche previously unconscious and in the possession of extrinsic authority. The big struggle that now faces women is in learning to contain the animus both in its archetypal and personal spheres. Traditional feminist theories have fed the negative animus, because they have believed that women can only succeed on men’s terms. This extreme position was necessary to compensate for the oppression of women. But now women need to create structures in their lives and in society which ensure a niche for the conscious feminine. It is time to explode the fallacy that men and women are the same. Being equal does not mean having to be similar. Perhaps the time has come when we can afford to be different yet equal.
iahip.org/inside-out/issue-7-winter-1991/rescuing-the-fem...
Creator: Unidentified
Location: Townsville, Queensland
Description: In 1919, after completion of nursing training at Townsville Hospital, Miss Lambton married the famous Anton Breinl. Dr. Breinl was the inaugural director of the first medical research establishment in Australia, The Australian Institiute of Tropical Medicine. Both were accompished musicians and provided an oasis of culture in the tropics. Nellie was particularly strong in her support for Dr. Breinl during the public campaign to denigrate him during World War I. (Description supplied with photograph)
View the original image at the State Library of Queensland:
hdl.handle.net/10462/deriv/113510
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections
You are free to use this image without permission. Please attribute State Library of Queensland.
Life has no other discipline to impose, if we would but realize it, than to accept life unquestioningly.
Everything we shut our eyes to, everything we run away from, everything we deny, denigrate or despise, serves to defeat us in the end.
What seems nasty, painful, evil, can become a source of beauty, joy and strength, if faced with an open mind.
Every moment is a golden one for him who has the vision to recognize it as such.
~ Henry Miller
*für Caecar (9th August 2005)*
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
The progressive lie in science and society.
‘Progressive’ politics originates from the ‘progressive’ evolution lie in science and society.
The essence of the ‘progressive’ lie, in science and in society, is a denial of both the intrinsic natural order, and the natural tendency towards physical and cultural/social entropy.
In hypothetical science, progressive cosmic and biological evolution deny the basic principles of causality and universal entropy, effectively undermining truth in science.
Although presented as science, they are both scientifically incongruous.
If your initial paradigm relies on the denial of fundamental scientific principles or natural law, it spectacularly fails. To call it ‘science’, discredits the perception of science as an objective search for truth.
To present an hypothesis wherein an effect is greater than its cause, and which requires a naturally occurring, autonomous increase in order, is preposterous fantasy.
Negating the effects of entropy, both physically and culturally, requires an active, sustained input, or renewal of, directed or guided effort/energy. (i.e. energy/effort + information, instructions or rules).
In the social and political field, indifference to, and denial or encouragement of, cultural entropy, masquerades as progressive.
Progressive politics derives from, and is allied to, this denial of intrinsic natural law and fundamental principles. By opposing or negating those guiding principles and rules, which are based on maintaining the natural order, it encourages and supports an insidious, social entropy, which inevitably undermines and ultimately destroys civilised society.
Just as the atheistic purveyors of physical evolution, cosmic and biological, posit the progressive development of order in the universe by denying the laws of cause and effect and entropy, which are fundamental principles of the natural order and science. So, the social allies of physical evolution, the purveyors of cultural and societal evolution, propose a progressive improvement of society, based on a similar denial of the natural order.
False equality and unjust denial of genuine equality:
Rejection of the natural order has spawned an insidious, egalitarian deception.
Demands are made that things which are clearly not equal should be treated as equal, and things that should be equal are denied their rightful equality.
Proponents of so-called, progressive policies seek to impose socially, and even legally, ideas of equality which ignore the natural order.
Equating things which are not equal, demanding equality for things which can never be equal, is quite bizarre, irrational and unscientific. That which violates the natural order is thereby elevated to parity with that which is in conformity with the natural order, diminishing the perception, approval and societal support of the latter.
It is a gross injustice to undermine and degrade social recognition and acceptance of the benefits of compliance with the natural order. Truth and error are not equitable, regardless of any legislation which decrees they should be treated as though they are..
A couple of examples:
False equality.
Same sex marriage...
Traditional marriage is undeniably compatible with the natural order, socially, scientifically and theologically.
Biologically, the reproductive, and only, purpose of complementary, sexual characteristics is irrefutable. This scientific fact has been traditionally recognised, socially and theologically, in the institution of marriage, throughout history. The only reason marriage exists is because of this biological fact. There cannot be legitimate equality for any so-called marriage/sexual partnership which is not based on this fundamental principle of the natural order.
The unjust denial of genuine equality:
Abortion...
Biology, through the study of genetics and embryonic development, decrees (without doubt) that a unique, human life begins at conception. There are no ifs or buts, this fact of the natural order is supported by science and, traditionally, through theology and the legal system.
Any denial of equality for unborn, human babies is illegitimate, grossly unjust, and contrary to basic human rights.
To ignore or dismiss the right to life of another human being, of any age, by claiming it is a matter of choice, is a diabolical distortion of truth and the natural order. There can be no cogent argument for legitimising abortion, because it is a fundamental issue of natural justice; which is beyond the jurisdiction of any authority. If a government does so, it is guilty of endorsing and encouraging a crime against humanity.
Progressive policies have undermined and devalued life, marriage, the family, national identity, financial independence and Biblical values, in the name of equality, freedom and choice.
Human institutions attempt to counter social entropy and maintain order through social constructs; tradition, convention, etiquette, customs, religion, contracts, charters, treaties, laws etc., but the enduring success of these depends on how closely they conform to the natural order.
The success of Western civilisation was mainly attributable to its clear understanding of physical and cultural entropy. Christianity was rightfully endorsed as the supreme antidote to cultural/social entropy.
This is perfectly logical because, as the Bible makes clear, physical entropy is the result of an originally, perfect creation sullied by sin.
Likewise, in society, sin is the cause of social entropy, it undermines the natural order and ultimately destroys civilisation. If you break rules which serve to maintain the natural order, you inevitably wreak havoc.
Christianity seeks to retain and, where necessary, restore natural order in society, combating the tendency towards social or cultural entropy by instilling principles and rules which respect and actively defend the natural order. Just as physical entropy is only negated by a sustained input of directed energy/effort, so social entropy is only negated by an enduring adherence to binding rules and principles. The adherence to such rules and principles by humans, who have a propensity to rebel against the natural order (behavioural entropy, inherited from our first parents; Adam and Eve), can only be reliably maintained by an input of spiritual energy/divine, sanctifying grace.
It is a perverse society, which applauds as ‘progressive’, those who rebel against, and deny, the natural order and laws, while appropriating science and culture to suit their regressive, ideological agenda (contrary to fairness, justice and basic human rights). Their denial of fundamental principles appears to be scientifically and socially legitimatised through corrupt, propagandised education, media hype, and intense political lobbying.
The arrogant claim of ‘progressives’, to hold the rational, scientific and ethical high ground, is bogus and dangerous.
The opposite is true.
To rail against the natural order is irrational and unethical. It undermines truth and unjustly denigrates everything which is compliant with the natural order. True science, morals and ethics must wholly respect fundamental principles and the natural order. Christian teaching is the supreme antidote to social entropy, being based on loving, maintaining, respecting and honouring the basic truths of the universe, evident in God’s creation.
ALL atheistic, natural origin of the universe scenarios are false.
www.flickr.com/photos/truth-in-science/32557999087/in/dat...
If and then - the atheist dilemma.
www.flickr.com/photos/truth-in-science/46553358861
The reason the elite hate Trump so much is because he is opposed to the one world agenda of the globalists.
endoftheamericandream.com/archives/the-reason-the-elite-h...
…civil law cannot contradict right reason without losing its binding force on conscience. Every humanly-created law is legitimate insofar as it is consistent with the natural moral law, recognized by right reason, and insofar as it respects the inalienable rights of every person. —St. Thomas Aquinas, Summa Theologiae, I-II, q. 95, a. 2.
Former Satanist: “I Performed Satanic Rituals Inside Abortion Clinics”
www.lepantoinstitute.org/abortion/former-satanist-i-perfo...
Why satanism is now on the center stage in the culture war.
www.crisismagazine.com/2019/why-satanism-is-now-on-the-ce...
why liberals care about climate change but not abortion?
www.lifesitenews.com/blogs/why-liberals-care-about-climat...
Abortion is murder 100% proof.
www.youtube.com/watch?v=lrl9QQHY2vA&feature=youtu.be
Atheist myths debunked - the development of order.
www.flickr.com/photos/truth-in-science/48113810438
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
youtu.be/B1E4QMn2mxk
A LEXICON OF INSTRUMENTS USED IN PERFORMING ABORTIONS OF HUMAN INFANTS.
abyssum.org/2019/06/22/a-lexicon-of-instruments-used-in-p...
Who trusts the MSM? Their lies are not just fake news, they deliberately set out to slander those who don’t agree with the liberal left, globalist elite. Their lies are positively evil. Everyone should watch this video and they will never trust the media again: banned.video/watch?id=5f00ca7c672706002f4026a9
SEPTEMBER 30: National Day for Truth and Reconciliation is observed.
ORANGE SHIRT DAY: Every Child Matters
This teddy bear is one of hundreds that have been added to fence posts since June, in support of all the indigenous children who suffered such cruelty and who were buried in unmarked graves at the sites of many residential schools.
"Between 1893 and 1996, more than 134 residential schools operated in Canada. These were supported by the federal government and often run by churches and missionary organizations. In Alberta, the Indian Residential Schools Settlement Agreement recognized 25 residential school locations." From Residential school research and recognition website.
"Residential schools were created by Christian churches and the Canadian government as an attempt to both educate and convert Indigenous youth and to assimilate them into Canadian society. However, the schools disrupted lives and communities, causing long-term problems among Indigenous peoples. The last residential school closed in 1996. Since then, former students have demanded recognition and restitution, resulting in the Indian Residential Schools Settlement Agreement in 2007 and a formal public apology by Prime Minister Stephen Harper in 2008. In total, an estimated 150,000 First Nation, Inuit, and Métis children attended residential schools." From www.thecanadianencyclopedia.ca/
"Overall, students had a negative experience at the residential schools, one that would have lasting consequences. Students were isolated and their culture was disparaged or scorned. They were removed from their homes and parents and were separated from some of their siblings, as the schools were segregated according to gender. In some cases, they were forbidden to speak their first language, even in letters home to their parents. The attempt to assimilate children began upon their arrival at the schools: their hair was cut (in the case of the boys), and they were stripped of their traditional clothes and given new uniforms. In many cases they were also given new names. Christian missionary staff spent a lot of time and attention on Christian practices, while at the same time they criticized or denigrated Indigenous spiritual traditions." From www.thecanadianencyclopedia.ca/en/article/residential-sch...
The Artist's Studio
1935
oil on canvas
— Raoul Dufy
French, 1877-1953.
The exhibition European Masterworks: The Phillips Collection, at...
Atlanta (Midtown), Georgia, USA.
26 May 2019.
***************
▶ "In the 1930s, Raoul Dufy created several paintings on the theme of the artist's studio (as did Matisse). This one shows his working space in Montmartre. From the flower textile on the left wall to the paintings scattered throughout the studio, this work provides insight into Dufy's career as a decorator, designer, and painter. Its calligraphic lines and bold color reflect the artist's joy in his working environment and the sense of spontaneity that Phillips loved in his art. Two years after this work was painted, the Phillipses hosted Dufy in their home. Marjorie Phillips recalled in her memoir the artist's good humor and charm."
▶There's an impish joie de vivre to this painting. It reminded me of the backdrop art of the classic Warner Brothers' cartoons of Fritz Freleng: not to denigrate Dufy, but to praise a possibly appreciative Freleng.
***************
▶ “European Masterworks: The Phillips Collection presents the pioneering collecting approach of Duncan Phillips (1886–1966). As the founding director of The Phillips Collection in Washington, DC, Phillips opened the first museum of modern art in the United States in 1921. In a gallery added to his family’s Georgian Revival home, he began his mission to define modern art and its origins, starting with nineteenth-century influences and moving through the present. Grouping works by their aesthetic temperament, he brought together artists from different places and times to 'trace their common descent from old masters who anticipated modern ideas.'
The iconic works by Impressionist, Post-Impressionist, Expressionist, and Cubist artists in European Masterworks show Phillips’s efforts to bring European modernism to a larger audience. Phillips saw his museum as an 'experiment station' that tested new ideas. Enthusiastic about the art of his time, he promoted independent, varied voices, including those outside the mainstream, whom he encouraged by collecting their work in depth. He revered artists who achieved mastery of color, the power of great emotion, and the balance of representation and abstraction. A patron of free spirits, Phillips shared a passionate and personal dialogue with many artists and was motivated by the 'joy-giving and life-enhancing' power of beauty.”
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
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--to not belittle women
--do not denigrate women
--do not be a clown
--do not consider women to be a lesser gender
--do not EVER consider a woman to be less important than you
If you do not agree to EVERY one of of those stipulations, then I disown you. We are not kindred spirits.
atelier ying, nyc.
Please view on black.
This opera holds a lot of sentiment to me. Growing up with Elton John as a young teen I was not ready for the sudden (or so it seemed to me) change to punk rock, but that is the nature of progress. It really sank in when a schoolmate asked me why I was still listening to "kiddie tunes". That snide ill-intentioned remark and other factors sent me one day on a fact finding mission to the Lincoln Center Public Library. There by chance I found a large LP set of Mozart's final opera. I knew nothing, which allowed me to make the worst choices yet with a silver lining. My original intentions were :
1. Hear only Mozart's most popular and fun opera
2. Listen to the very beginning and if it wasn't easy sounding and pleasant, forget it.
3. Base all my opinions about Opera on this one-minute audition.
Of course everything backfired for me, with a silver lining again.
La Clemenza di Tito was Mozart's final work, written in haste while he was ill, in heavy debt, distress and while he was trying to clear it off the docket in order to write what he felt he really had to complete, his requiem, which he never did finish. In this respect, this much overlooked and criticized Opera Seria was his "real" requiem.
When I settled into a phonograph booth in the library's listening room, I made two wonderful mistakes (more mistakes!) : Never having used a record player I placed the needle close to the very end of the last side of the album set, thinking I was playing the opera from the very beginning. Thus, the last 2 minutes of the finale to La Clemenza di Tito, Mozart's very last pen strokes, rocked my 16-year old world, a real taste of Grand Opera just a mere 100 feet away from the actual stage of the Metropolitan, and I have never ever turned back since. I was an avid Opera fan for eight memorable years at the Met, I still know the sequence of arias of the first act of La Clemenza by heart.
My homage and design to Mozart focuses upon his famous tender meeting with Marie Antoinette, when they were both children. As the child prodigy he would play piano duets with the future Empress in the coming years. The design proposal is based upon the premise of an Apotheosis so we must balance the spiritual with fanfare: Mozart and Marie are united in spirit within an intimate courtyard of a cloister which is enclosed as a coliseum, the creation of the benevolent Roman Emperor Titus. The scene is to be quiet and marks the peaceful end to the noble lives of all three personages by the sundial at the very center of the entire structure.
As a side note, Marie Antoinette's inclusion in this design is prophetic as clemency played a large role at her own trial at the end of her life. Just as Mozart's opera, she was also denigrated by the masses yet history later recognized her in a more fair light.
This camera design gives the colosseum exterior an upgrade with faux aluminum cladding and a set of tiny art galleries a la the Guggenheim inside. In the same spirit as the Emperor Titus opening the arena to the public in order to increase his popularity, the rental income from all the galleries should also bring in funds for future projects. The cladding should last millennia but is not earthquake proof.
To me, a camera without additional experiences inside it, is a kind of waste. The "live" view of the LCD screen is a colosseum-like focal event, as is the perspective experience of the viewfinder (meant here only as a simple targeting tool) which seems to herald great events to be taking place soon. From he second interior eyepiece at the location of the Emperor's entrance one can view the intimate gathering of the principals at the fountain where traditionally monastic reflection and spiritual replenishment occur within the cloister. Surrounding the couple are statues of great musical composers in the coliseum's upper level, both before and after Mozart's time. The Lumix M4/3 has an uncoated Cooke Kinic 1-inch f1.5 lens to make dreamy portrait photographs.
There is ample storage space to hold miniature exhibits for related historical figures like Marie Antoinette's children and the Sun King in the multiple galleries in the interior of the colosseum. A simple relic of the actual colosseum and of St. Cecilia the patron of music are easily obtained for display inside this camera's compartments.
This Design drawing & descriptions are copyright 2013 by David Lo.
British postcard in the Picturegoer Series, London, no. 675.
English actor Tom Walls (1883-1949) was a popular character player on stage and in films, and also worked as a film director. He is indelibly associated with the popular Aldwych Theatre farces of the 1920s and 1930s and was one of the most influential figures in British comedy.
Tom Kirby Walls was born in Kingsthorpe, Northampton, England in 1883. He was the son of a plumber and was educated at Northampton County School. After leaving school, he spent a year in Canada. On his return, he was he worked for a brief time as a busker (street entertainer), a jockey, and an officer in the Metropolitan Police Force. After these false starts, he settled on a stage career. In 1905 he made his debut in the pantomime Aladdin in Glasgow. He toured America in 1906 and 1907 and on his return to England he made his London debut at The Empire Theatre in Sir Roger de Coverley (1907). He remained at the Empire (as well as touring) in musical comedy for the next two years. By 1912 he was firmly established as a West End star. He had a principal role in the musical Kissing Time (1919) and in Whirled into Happiness (1922). In 1922, Walls also co-produced with Leslie Henson the farce Tons of Money at the Shaftesbury Theatre. The farce, in which he also starred, ran for two years at the Shaftesbury Theatre. He made an early foray into the cinema co-producing the film version of Tons of Money (1924, Frank Hall Crane), though he didn't reprise his role. For their next project, It Pays to Advertise, they moved to the Aldwych Theatre. Thus they inaugurated the Aldwych Farce series of comedies in which silly upper-class twits become entangled with inconvenient young ladies just as all the suspicious wives, battle-axe mothers-in-law, and henpecked husbands show up at once. Gary Brumburgh at IMDb: “ As the star and producer of a succession of witty spoofs typically denigrating society's upper crust, he often played the slick cad. Written expertly by Ben Travers and in tandem with fellow comic extraordinaires Ralph Lynn and Robertson Hare, the shows were chock full of sight gags, puns, double entendres, and slapstick.”The farces featured an ensemble cast that also included Leslie Henson, Yvonne Arnaud, Mary Brough, Winifred Shotter, Claude Hulbert, and others.
When the sound film arrived, Tom Walls moved his focus away from the theatre and into films. He functioned as both star and director in the first Aldwych-produced farce transferred to the cinema, Rookery Nook (1930, Tom Walls) co-starring Ralph Lynn and Winifred Shotter. The madcap nonsense was a smash box-office success. So several of their classic stage shows were filmed, including Plunder (1931, Tom Walls), A Night Like This (1932, Tom Walls), Thark (1932, Tom Walls), Turkey Time (1933, Tom Walls), A Cuckoo in the Nest (1933, Tom Walls), Dirty Work (1934, Tom Walls) and A Cup of Kindness (1934, Tom Walls). More or less all of them were presented as photographed plays. Walls directed seventeen films till 1938 and acted in most of them. In 1937 he and Ralph Lynn were voted the seventh most popular British stars by local exhibitors. He directed his last film towards the end of the 1930s, Old Iron (1938, Tom Walls) with Eva Moore. When the economics of the industry changed with the new Cinematography Act, Walls went back to the theatre. He returned to films as an actor only. His career waned following the decade, but he was still seen in a number of films, both comedic and touchingly dramatic. In the war film Undercover (1943, Sergei Nolbandov), he played the father of a guerrilla resistance leader (John Clements) in Nazi-occupied Yugoslavia. Walls continued to act as a character actor until his death, essaying a variety of twinkle-eyed old scoundrels. His final film was the thriller The Interrupted Journey (1949, Daniel Birt) starring Valerie Hobson. His great passion outside of show business was horses. His productions had made him very rich and by 1927 he had his own racing stable. He moved to Ewell, Epsom, home of The Epsom Derby, and triumphed there in 1932 with his colt April the Fifth which he trained himself. In all, he trained about 150 winners (total wins) up until 1948. He was also a regular rider with his local foxhounds. However this expensive hobby took its toll and by the time of his death he was insolvent At 66, Tom Walls passed away in 1949 in his home near Edwell, England. He was married to Hilary Edwards. With their son, Tom Walls Jr., he made two on-screen appearances, Spring in Park Lane (1948, Herbert Wilcox) and Maytime in Mayfair (1949, Herbert Wilcox), both starring Anna Neagle and Michael Wilding.
Sources: Hal Erickson (AllMovie), Gary Brumburgh (IMDb), David Absalom (British Pictures), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I voted and want you to vote, too. Please share the need to vote in 2020 and beyond. If you take a photo of your voting in some manner, please, leave a comment so I can like your photo(s)! :)
While you may support someone I would never consider, I still want you to vote and for your vote to count.
Maybe I'm stupid, because since the 1868 election there have been thousands, if not millions of people, who want to deny the vote to US Citizens over the majority age. Why? Scared their vote will end something they enjoy or love or they don't trust or like someone of a different race / skin color, religion, etc.
My mother taught me God created people of different skin color for the beauty of man. If all the flowers were the same, there would be no beauty in the garden. God created diversity and it is not our place to disrespect or denigrate another person for how God created the person. It is, after all, God who creates us and to look down on God's work is sin, if not an abomination!
Please vote! Please vote for honesty, trustworthiness, and for those who will put the American people ahead of party, ahead of themselves, and will govern for all citizens and not just themselves.
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I will say I couldn't vote in any consensus for Donald J. Trump.
I will say I supported with multiple contributions various "Flip The Senate" PACS.
If you, like in IL, have one or both US Senator(s) up for election, please, please, vote Democratic and not Republican in 2020 (and 2022).
Thank you for read this far and thank you for voting.
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A small example of state propaganda, caught red-handed:
Google “sit boy Leavitt Traoré” and you’ll see dozens of sites all with roughly the same content: Leavitt insulting a captain of the Burkina Faso army.
But there’s no video of the incident itself — the story is narrated by a synthetic voice.
These types of sites have been flourishing lately (another example is “The Adventures of Saint Keanu Reeves”)…
These videos get millions of views and aim to polarize or denigrate American/Western society. They are alternately pro-Trump or against him.
Who’s behind it? The Russian or Chinese government — or both. I have no proof.
But in the case of Burkina Faso, both of these nations currently play a privileged role with that African state. This is just a tiny example and the social networks are saturated with this kind of horrible content.
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
Se la dichiarazione d'intenti sullo “ius soli” di Cecile Kyenge aveva come intenzione quella di riportare il tema della cittadinanza al centro dell’asfittico dibattito politico italiano, di sicuro il neoministro per l'integrazione c'è riuscita. Oggi a far partire l'ennesimo balletto delle dichiarazioni ci ha pensato Beppe Grillo, dalle ormai seguitissime pagine del suo blog. E, forse anche per riportare il suo movimento sulla cresta dell'attenzione mediatica, dopo un periodo di appannamento, le sue sono state parole polemiche.
Grillo afferma che lo ius soli in Europa non esiste. E - se proprio si devono cambiare le regole - sia un referendum a decidere e non “un gruppetto di parlamentari e di politici in campagna elettorale permanente”. E' quanto si legge in un post sul suo blog.
“In Europa non è presente - scrive il leader del Movimento 5 Stelle -, se non con alcune eccezioni estremamente regolamentate. Dalle dichiarazioni della sinistra che la trionferà (ma sempre a spese degli italiani) non è chiaro quali siano le condizioni che permetterebbero a chi nasce in Italia di diventare ipso facto cittadino italiano”.
Il comico trova un'inedita spalla nell'ex ministro della difesa La Russa. “Finalmente una posizione chiara e condivisibile da Grillo: no allo jus soli salvo referendum. Ma siccome in Italia non esiste, il referendum propositivo (Grillo evidentemente non lo sa, ma pazienza!) bisogna che ci sia un impegno sin d'ora a promuovere un referendum abrogativo se la maggioranza votasse una legge siffatta. Fratelli d’Italia sicuramente sarebbe in prima linea nella raccolta delle firme”. Lo dice Ignazio La Russa, attuale presidente del movimento Fratelli d'Italia-centrodestra nazionale. “Grillo s’impegna a farlo? Nessun altro? Come si fa a non capire che lo jus soli (a parte ogni altra considerazione) attirerebbe clandestinamente in Italia partorienti da tutto il mondo? Personalmente sono invece stato sempre favorevole a discutere se e come anticipare di qualche anno l'acquisizione della cittadinanza italiana, oggi fissata in questi casi al compimento dei 18 anni di età per i bimbi nati in Italia da immigrati regolari che abbiano frequentato in Italia tutto il ciclo della scuola dell'obbligo”, conclude La Russa.
“Ho visto che Grillo aveva fatto un fotomontaggio in cui io sono con Ignazio La Russa; un modo per denigrare Sel. Lui non ha bisogno di un fotomontaggio perché oggi lui si ritrova insieme alle opinioni di La Russa”. Così interviene Nichi Vendola, parlando con i cronisti a Montecitorio, commenta il no di Beppe Grillo a una nuova legge sulla cittadinanza basata sullo ius soli. “In un Paese che ha conosciuto l'oltraggio e la vergogna delle leggi raziali e della Bossi-Fini - ha concluso Vendola - evidentemente Grillo non pensa che i diritti universali dei cittadini siano una bandiera da far sventolare”.
Sulla questione interviene anche il Pd, che sostiene lo “ius soli temperato” per la possibilità di cittadinanza ai nati in Italia al termine del ciclo della scuola dell'obbligo concluso nel nostro Paese, obiettivo della ministro Cecile Kyenge. E “non teme il referendum” che Beppe Grillo ha prospettato in materia. L’ha messo nero su bianco l'ex ministro di Livia Turco, presidente del Forum Immigrazione dei democratici. “Grillo - ha affermato Turco - getta la maschera. Innanzitutto, dimostra di non conoscere la legge italiana e gli effetti paradossali che produce sulla vita di tanti giovani. Grillo non si è accorto, nella sua disanima molto superficiale della legislazione europea, che in quella italiana ci sono due semplici parole che la rendono anomala e arretrata rispetto alla legislazione degli altri paesi d`Europa. La prima, aver vissuto “ininterrottamente” per diciotto anni in Italia come condizione per presentare la domanda di cittadinanza significa escludere, da questa possibilità, tanti ragazzi che magari, per motivi familiari, sono costretti a tornare nel loro Paese per uno o due anni e poi tornare in Italia. Questa circostanza è lesiva di un diritto ed è fonte di molte discriminazioni. La seconda parola è che al compimento del diciottesimo anno il giovane ha solo dodici mesi per presentare la domanda, altrimenti perde il diritto. Un tempo così ristretto non esiste in nessun paese europeo. Grillo non vuole cambiare neppure queste due parole discriminatorie?”.
Il dibattito sullo ius soli, tra l'altro, viene guardato con attenzione anche dai vescovi. Interpellato sul tema, il cardinale Angelo Bagnasco, presidente della Cei, pur non prendendo una posizione netta, evidenzia che “il problema esiste, ma le forme concrete di attuazione sono compito della politica”. Ad ogni modo, il presidente della Cei rileva che “è in gioco il diritto fondamentale della persona che in quanto tale deve essere salvaguardato. Il problema - ha ribadito Bagnasco - esiste perché bisogna fare in modo che chi approda in Europa trovi una doverosa integrazione”.
If the declaration of intent on the "ius soli" by Cecile Kyenge had as its intention to bring the issue of citizenship in the center dell'asfittico Italian political debate, surely the new minister for integration is successful. Today to start yet another ballet of the statements we thought Beppe Grillo, from now seguitissima pages of his blog. And, perhaps even to bring its movement on the crest of media, after a period of fogging, its words have been controversy.
Grillo says that the ius soli in Europe does not exist. And - if you really have to change the rules - is a referendum to decide and not "a group of parliamentarians and politicians in permanent electoral campaign." And 'what is said in a post on his blog.
"In Europe there is - writes the leader of the Movement 5 Stars - if not highly regulated, with some exceptions. From the statements that the triumph of the left (but always at the expense of the Italians) is not clear what are the conditions that would allow those who are born in Italy to become ipso facto an Italian citizen. "
The comedian is an unusual shoulder in the former Defence Minister La Russa. "Finally, a clear and shared by Grillo: no referendum unless the jus soli. But since in Italy there is not, the referendum proposals (Grillo obviously does not know it, but never mind!) There must be a commitment right now to promote a referendum if a majority would vote such a law. Brothers of Italy certainly would be in the forefront in the collection of signatures. " He says Ignazio La Russa, current president of the movement Brothers of Italy-national center. "Cricket is committed to do that? Anyone else? How can you not understand that the jus soli (apart from any other consideration) would draw Italy illegally pregnant women from all over the world? Personally I have always been rather favorable to discuss whether and how to anticipate a few years the acquisition of Italian citizenship, now fixed in these cases the age of 18 years for children born in Italy to legal immigrants who have attended in Italy around the cycle of compulsory education, "says La Russa.
"I saw that Cricket had made a montage where I am with Ignazio La Russa, a way to denigrate Sel He does not need a montage because today he finds himself together with the opinions of La Russa." So intervenes Nichi Vendola, speaking with reporters in the House, said the no of Beppe Grillo to a new law on citizenship based on jus soli. "In a country that has known the outrage and shame of racial laws and the Bossi-Fini - concluded Vendola - Cricket obviously does not think that the universal rights of citizens to have a flag to wave."
The question also involved the Democratic Party, which supports the "ius soli tempered" for the possibility of citizenship to persons born in Italy at the end of compulsory schooling ended in our country, the objective Minister Cecile Kyenge. And "not afraid of the referendum" that Beppe Grillo has considered the matter. He put on paper the former Turkish Minister of Livia, president of the Forum of Immigration Democrats. "Cricket - said Turkish - throwing off the mask. First, not familiar to the Italian law and the paradoxical effects that has on the lives of many young people. Grillo has not noticed, very superficial in its close examination of European legislation, and the Italian there are two simple words that make it unusual and back from the legislation of other countries of Europe. The first, having lived "continuously" for eighteen years in Italy as a condition for applying for citizenship means excluded from this possibility, many guys who maybe, for family reasons, are forced to return to their country for one or two years and before returning to Italy. This situation is detrimental to the right and is a source of many forms of discrimination. The second word is that at the young age of eighteen years is only twelve months to submit the application, otherwise loses the right. Such a short time does not exist in any European country. Grillo will not change even these two words discriminatory? ".
The debate on ius soli, among other things, is watched carefully by the bishops. Speaking on the theme, Cardinal Angelo Bagnasco, president of CEI, while not taking a clear position, noted that "the problem exists, but the concrete forms of implementation is the task of politics." However, the president of the CEI notes that "the game is a fundamental human right that must be protected as such. The problem - he said Bagnasco - exists because you have to make sure that anyone who arrives in Europe are a necessary integration. "
Just a little southeast of here (this photo) Alabama State Troopers attacked, brutalized and beat a peaceful protest march of about 600 as they were leaving Selma on their way to Montgomery, the state capitol on March 7, 1965. I was 14 at the time living in a rural, northern California farming community. My grandfather was born in Mexico and became a naturalized US citizen about the time I was born. We were a family of farm laborers. We were worlds away from Selma. There were plenty of refugees from the Dust Bowl working on farms side by side with my family. It was an odd existence in that these people who were dirt poor (no pun intended) who were reviled and denigrated when they arrived in California from their homes in Dust Bowl Oklahoma were prejudiced against Mexicans. While they treated my family with respect we had to listen to their racist comments about “Mexicans. I sometimes tell people that I grew up in a Steinbeck novel to set the scene. Salinas was over 200 miles away but 1950’s Northern California hadn’t really changed from to 30’s and 40’s of the Monterey Valley. I have a very different perspective on race relations and civil rights than people from other parts of the US. I fully appreciate that most everyone does have a different perspective on these events. My Southern tour makes my head spin. www.history.com/.amp/this-day-in-history/bloody-sunday-ci...
Though I am often light-hearted in regards to being "Laurette," there are aspects of being a woman that are quite serious. I would never, EVER, denigrate through my words, actions, or appearance anything pertaining to womanhood. I respect and admire women too much; I therefore try to emulate women to the best of my ability.
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
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Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
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State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
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Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
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“The mere act of pointing out the race and gender of a white guy (perky or otherwise) is often regarded as a denigrating attack in itself, even though those of us who are not (presumptively cisgendered, heterosexual) white guys are routinely framed in terms of our racial and/or our gender and sexual identities in explicitly denigrating terms. And both food and diversity are regularly deployed to avoid any meaningful discussion of racism. As Luke Pearson from NITV has pointed out, a quick glance at the Meat and Livestock board of directors shows it to be dominated by white males (none of them perky). It’s far more straightforward to line up a diverse range of guests at a fictitious barbecue than it is to implement diversity in employment practices, let alone to critique the origins of the national day, which has formed the core of the company’s publicity campaigns for the past 12 years.” ―Shakira Hussein
PLEASE VISIT & SUPPORT:
PHYSICIANS FOR SOCIAL RESPONSIBILITY
THE UNION OF CONCERNED SCIENTISTS
NUCLEAR POLICY RESEARCH INSTITUTE
RECOMMENDED: UCS Tutorial on use of Bush's "BUNKER BUSTERS" in Iran
...
"Ladies and gentlemen, when I first went to the Middle East -- on holiday from Belfast, of all places -- 1972, I went to Egypt, and anxious to try and pick up a few first words of Arabic, I had the misfortune of purchasing a very old book produced by the British army in Egypt in the 19th century. I still recall the three principal clauses which you were advised to learn if you were an Englishman: "We shall board the steamship, for there is talk of war," "Help," and "Where is the British embassy?" And I can tell you, I never believed I would actually watch people say these things, as I had to in Lebanon this last summer. There were all the refugees, all the foreigners, boarding the steamships because there was a real war, all wanting help and all demanding to know the way to their national embassies. “So it has come to this,” I thought to myself.
You know, in the last 30 years that I have been in the Middle East, there has been one -- no, two major changes. The first is that Muslims are no longer afraid. When I first went to Lebanon, if the Israelis crossed the border, for example, many, many, many Palestinians who were in the south would be rushing to Beirut. People would flee the south, run away. Whether it was the siege of Beirut in 1982 or not, I don’t know. But now, they do not run away. Muslims do not run away when they’re attacked, when they’re under air attack.
One of the most extraordinary events was the siege of ’82, when over and over again leaflets would fall from the sky. “If you value your loved ones, run away and take them with you.” An attempt to depopulate West Beirut. And I always remember my landlord -- I live on the seafront -- I met him at front door one day, and he was holding a little net full of fish. He had been fishing on the sea. He said, “We don't have to do as we’re told and leave our homes. We can live, you see, Mr. Robert. We can stay here.”
The other big change that has happened in the past 30 years is that when I first went to the Middle East, all the forces which were in conflict with the West were nationalist or socialist or pro-Soviet. Today, without exception, in Afghanistan, in Gaza, in the West Bank, in Iraq, in South Lebanon, all the forces which are in conflict with the West or with Israel are Islamist. That is a change that I don’t think we westerners really understand.
Do we in fact really understand the extent of injustice in the Middle East? When I finished writing my new book, I realized how amazed I was that after the past 90 years of injustice, betrayal, slaughter, terror, torture, secret policemen and dictators, how restrained Muslims had been, I realized, towards the West, because I don't think we Westerners care about Muslims. I don’t think we care about Muslim Arabs. You only have to look at the reporting of Iraq. Every time an American or British soldier is killed, we know his name, his age, whether he was married, the names of his children. But 500,000-600,000 Iraqis, how many of their names have found their way onto our television programs, our radio shows, our newspapers? They are just numbers, and we don't even know the statistic.
Do you remember the time when George Bush was pushed and pushed: what were the figures of the Iraqi dead? At that stage, it was less, and he said, “Oh, 30,000. More or less.” Can you imagine if he had been asked how many Americans had died, and he said "3,000, more or less"? Those words, “more or less,” somehow said it all.
I said earlier on today -- and I’m going to give you the example this time -- that actually, I don't think the Iraq report is going to have any effect, but I think what is meant to have an effect in the United States is the gradual drip-drip idea that the Iraqis are unworthy of us Westerners. This is why and this is how we’re going to get out.
Let me give you an example of what I mean. Here is Ralph Peters, former American Army officer, writing in USA Today. I’m not advising you to read USA Today, but I sometimes get trapped into airplanes for hours and hours and hours coming to talk to people like you. So, here is Ralph Peters writing -- remember this is quoting a mainstream newspaper. He was originally for the invasion. Obviously he needs a get-out clause now. "Our extensive investment in Iraqi law enforcement only produced death squads. Government ministers loot the country to strengthen their own factions. In reality, only a military coup could hold this artificial country together." You see? We’re already planning.
I remember back even in 2003, Daniel Pipes had a long article in which he said that what Iraq needed -- and please do not laugh at this -- what Iraq needed was a democratically minded strongman. Think about that for a moment.
But let me carry on with Ralph Peters. “For all our errors, we did give the Iraqis a unique chance to build a rule-of-law democracy. They preferred to indulge in old hatreds, confessional violence, ethnic bigotry and a culture of corruption.” You see what we’re doing. We’re denigrating and bestializing the people we came allegedly to save. It's their tragedy, not ours, he writes. Iraq -- listen to this, “Iraq was the Arab world’s last chance to board the train to modernity, to give the region a future, not just a bitter past. But now, the violence staining Baghdad’s streets with gore isn’t only a symptom of the Iraqi government’s incompetence,” he says. “It is symbolic of the comprehensive inability of the Arab world to progress in any sphere of organized human endeavor.” Yes, that's what I thought when I read it. No letters to the editor about this. “If they continue to revel” -- revel, get that word -- “to revel in fratricidal slaughter, we must leave.” You see, the ground is being prepared.
Take David Brooks, now, this is the New York Times. This is really mainstream. He’s been reading some history books, remembering how the British occupation of Iraq came to grief in 1920. Pity he didn’t read the history books before he supported the invasion of Iraq. But anyway, he’s getting ’round to reading history now. “Today,” he says, “Iraq is in much worse shape than when the British were there. The most perceptive reports,” he says, “talk not of a civil war, but of complete social disintegration.” We’re already rubbing Iraq like this and turning it to dust, so there’s nothing left to leave. “This latest descent,” he says, “was initiated by American blunders but is exacerbated by” -- wait for it -- “the same old Iraqi demons: greed, bloodlust and a mind-boggling unwillingness to compromise for the common good, even in the face of self-immolation.” This is similar to the Thomas Friedman line of the child-sacrificing Palestinians. “Iraq,” says Brooks, “is teetering on the edge of futility.” What does that mean? “It will be time to effectively end Iraq. It will be time soon,” he says, “to radically diffuse authority down to the only communities that are viable in Iraq: the clan, the tribe or sect.”
This, ladies and gentlemen, is the way in which we are being prepared for what is to happen. This is the grit, which will be laid on the desert floor to help our tanks move. Don't say there were never predictions about the future in the Middle East.
So, but don't say there were no predictions of the future in the Middle East. The record of that 1920 insurgency against the British occupation is a fingerprint-perfect copy of the insurgency against the Americans and the British today. But on the other hand, don't say that no one warned many, many years before here now, before even the Second World War, of what was to happen in Palestine.
I’m going to read you a very brief paragraph by Winston Churchill, not about the Battle of Britain. It is Churchill prophesying the future from 1937, eleven years before the Nakba. This is Winston Churchill writing in a totally forgotten essay. He reflected upon the future and wrote of the impossibility of a partitioned Palestine. And he talked of how, I quote -- this is Winston Churchill in 1937 -- “The wealthy, crowded, progressive Jewish state” -- see, it doesn’t exist yet, but he’s already getting it right -- “lies in the plains and on the sea coast of Palestine. Around it, in the hills and the uplands, stretching far and wide into the illimitable deserts, the warlike Arabs of Syria of Transjordania, of Arabia, backed by the armed forces of Iraq, offer the ceaseless menace of war. To maintain itself,” -- 1937, remember, -- “To maintain itself, the Jewish state will have to be armed to the teeth and must bring in every able-bodied man to strengthen its army. But how long will this process be allowed to continue by the great Arab populations in Iraq and Palestine? Can it be expected that the Arabs would stand by impassively and watch the building up, with Jewish world capital and resources, of a Jewish army, equipped with the most deadly weapons of war until it was strong enough not to be afraid of them? And if ever the Jewish army reached that point, who can be sure,” Churchill asked, “that, cramped within their narrow limits, they would not plunge out into the new undeveloped lands that lay around them?”
“Ouch,” I said when I read that. 1937."
--Robert Fisk, the veteran mid-east reporter for The Independent, addressing the sixth annual convention of the Muslim Public Affairs Council in Long Beach, California, December 20, 2006
An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
Melbourne Town needs a Bishop
1847 A Cathedral City
The establishment of a bishopric requires city status
The Bishop needs a Cathedral
A deterministic paradigm
Avoid marrying the commoners
You are in a special position
Of controlling the new lands
To terraform a frontier society
A decent society
Continually under threat
Containing the deported
All those persons charged as undesirable
Their depravity
Their madness
Their sexual promiscuity
Their sickness
You are ordained to cultivate a civilization Through your appearance, dignity, and restraint
You are to privilege those who have symbolic capital
Those civic leaders
Those charged with a moral purpose
Those who value social determinism
Provisioning
Land grants
Cheap labor
Systems of denigration for those not white enough
Smoothing the dying pillow
Infrastructure
Cathedrals
Grand public edifices
Parliament buildings
Art galleries
Libraries
Theatres
For those who are vagrants, lazy and practice sexual impropriety
You must self-help
You will not be a burden on our prosperity
Our empathy is unfunded
You of limited political voice
You of limited aspirations
Read More: www.jjfbbennett.com/2019/12/melbourne-to-darwin-november-...
One-off sponsorship: www.paypal.me/bennettJJFB
Have you ever had a dream stealer swoop in uninvited, make cutting comments about your dreams, goals or aspirations? Maybe they've gotten all passive aggressive and denigrated your accomplishments or your lifestyle just because they don't understand. Well, today I'm lifting a glass to celebrate you, me and all the hard work we put into our lives, our spirits, our dreams. Don't let anybody put you down, no matter how near & dear they are to your life. A big thanks to everyone here on flickr who goes out of their way to encourage me on my journey. Your enthusiasm, good spirits and cheerleading makes a HUGE difference in my life and really makes me feel great. Thanks! Happy Tipsy Tuesday!
© 2011 Holly E Clark, All Rights Reserved
this is a re-work of my convent photo - 2 posts back - done for me by Tom (Ven16). I have had several friends on Flickr to whom I owe much in terms of opening my eyes and teaching me new ways of looking and new techniques - particularly Di
Northey and LeapFrog and now Ven16. All these people have taken the time to upload one (or more) of my pics, do amazing things with it and send it back, with lots of Flickrmails and emails about how and what and why! It is one thing to do a quick comment (and I am not for one minute denigrating that) but quite another to look carefully at someone's photo, see how it could be better and work with the photographer to help! Thank you you three!
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
Are Bees Territorial? Sometimes. If you are a male. And if you are big. I had not really thought in any systematic way about territoriality in bees until I was looking up information about the bee in this picture (Centris adani. Costa Rico, Tim McMahon collector). My literature poke revealed that colleague Gordon Frankie had published on this long ago in the 70s about territoriality in male C. adani. Off hand I can think of territorial males existing in at least some Anthidium, Xylocopa, Centris, Anthophora, Bombus. Makes me wonder if small bees might sometimes also be territorial but we just aren't observant enough to discover that fact. But, I would bet not, probably just a big bee thing. If you are territorial it has to be useful or why bother? Probably has to do with mating opportunities. Which leads to another weak observation: In general, highly territorial males are both praised and denigrated in human society. What is the intersection between those two thoughts? It feels fuzzy, ... but intriguing. If there is not a scientific paper there, there must be at least a novel. Perhaps a high end Romance Novel. ~~~~~~~~~~{{{{{{0}}}}}}~~~~~~~~~~
All photographs are public domain, feel free to download and use as you wish.
Photography Information:
Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
We Are Made One with What We Touch and See
We are resolved into the supreme air,
We are made one with what we touch and see,
With our heart's blood each crimson sun is fair,
With our young lives each spring impassioned tree
Flames into green, the wildest beasts that range
The moor our kinsmen are, all life is one, and all is change.
- Oscar Wilde
You can also follow us on Instagram - account = USGSBIML
Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Best over all technical resource for photo stacking:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World:
www.amazon.com/Bees-Up-Close-Pollinators-Around-World/dp/...
Free Field Guide to Bee Genera of Maryland:
bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
Bees of Maryland Organized by Taxa with information on each Genus
www.flickr.com/photos/usgsbiml/collections
PDF of Basic USGSBIML Photography Set Up:
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
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State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
www.youtube.com/watch?v=R1FO9MqWugY
Black Lives Matter' painted in front of Trump Tower on 5th Avenue
By Eyewitness News
Thursday, July 9, 2020
New York City Mayor Bill de Blasio grabbed a roller Thursday to help paint "Black Lives Matter" in front of Trump Tower on Fifth Avenue.
NEW YORK (WABC) -- New York City Mayor Bill de Blasio grabbed a roller Thursday to help paint "Black Lives Matter" in front of Trump Tower on Fifth Avenue.
De Blasio was flanked by his wife, Chirlane McCray, and the Rev. Al Sharpton as they helped paint the racial justice rallying cry in giant yellow letters as activists chanted, "Whose streets? Our streets!"
"When we say 'Black Lives Matter,' there is no more American statement, there is no more patriotic statement because there is no America without Black America," de Blasio said. "We are acknowledging the truth of ourselves as Americans by saying 'Black Lives Matter.' We are righting a wrong."
President Donald Trump has referred to the Black Lives Matter murals as a symbol of hate, tweeting the sign would denigrate Fifth Avenue.
Black Lives Matter 'pintado delante de Trump Tower en 5th Avenue
Por Eyewitness News
Jueves 9 de julio de 2020
El alcalde de la ciudad de Nueva York, Bill de Blasio, agarró un rodillo el jueves para ayudar a pintar "Black Lives Matter" frente a Trump Tower en la Quinta Avenida.
NUEVA YORK (WABC) - El alcalde de la ciudad de Nueva York, Bill de Blasio, agarró un rodillo el jueves para ayudar a pintar "Black Lives Matter" frente a la Torre Trump en la Quinta Avenida.
De Blasio estaba flanqueado por su esposa, Chirlane McCray, y el reverendo Al Sharpton mientras ayudaban a pintar el grito de la justicia racial en letras amarillas gigantes mientras los activistas cantaban: "¿De quién son las calles? ¡Nuestras calles!"
"Cuando decimos 'Black Lives Matter', no hay más declaraciones estadounidenses, no hay más declaraciones patrióticas porque no hay Estados Unidos sin América negra", dijo de Blasio. "Estamos reconociendo la verdad de nosotros mismos como estadounidenses al decir 'Black Lives Matter'". Estamos enderezando un error ".
"El presidente Donald Trump"se ha referido a los murales de Black Lives Matter como un símbolo de odio, tuiteando el letrero denigraría la Quinta Avenida.
An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
Yayoi Kusama: Infinity Mirrors / Hirshhorn Museum
“Now is the time to resist the slightest extension in the boundaries of what is right and just.
Now is the time to speak up and to wear as a badge of honor the opprobrium of bigots.
Now is the time to confront the weak core at the heart of America’s addiction to optimism; it allows too little room for resilience, and too much for fragility.
Hazy visions of “healing” and “not becoming the hate we hate” sound dangerously like appeasement.
The responsibility to forge unity belongs not to the denigrated but to the denigrators.
The premise for empathy has to be equal humanity; it is an injustice to demand that the maligned identify with those who question their humanity.” ―Chimamanda Ngozi Adichie
www.newyorker.com/culture/cultural-comment/now-is-the-tim...
Dutch flyer, part 1. Adrienne Ames in The Sign of the Cross (Cecil B. DeMille, 1932).
In Cecil B. De Mille's lavish historical epic The Sign of the Cross (1932), a Roman soldier becomes torn between his love for a Christian woman and his loyalty to Emperor Nero. The outstanding cast is one of the film's strongest points. Fredric March is stalwart as the Roman official who falls in love with a sweet Christian girl, played by Elissa Landi. But they are upstaged by the villains, Charles Laughton and Claudette Colbert playing Emperor Nero and his wife Empress Poppaea. The Sign of the Cross (1932) is the third and last in DeMille's biblical trilogy with The Ten Commandments (1923) and The King of Kings (1927).
In 1932 – at the height of the depression, Paramount was in financial straits and Hollywood's output was mostly limited to small-scale dramas and bedroom comedies. However, Cecil B. DeMille decided to make an epic. Against all odds, he carried the torch for grandeur and spectacle and produced and directed one of his best films, The Sign of the Cross (1931), a vivid retelling of the struggles of the first Christians. The Roman Empire - First Century A. D. After burning Rome, Emperor Nero Claudius Caesar (Charles Laughton) decides to blame the Christians and issues the edict that they are all to be caught and sent to the arena. The mad Emperor and his vile Empress engage in every sort of vice and degradation. Wanton cruelty becomes a spectator sport and virtue and innocence are denigrated. Two old Christians are caught, and about to be hauled off, when Prefect Marcus Superbus (Fredric March), the highest military official in Rome, comes upon them. When he sees their stepdaughter Mercia (Elissa Landi), he instantly falls in love with her and frees them. Marcus pursues Mercia, which gets him into trouble with the Emperor for being easy on the Christians and with Empress Poppaea (Claudette Colbert), who loves him and is jealous. When Landi's Mercia's friends are marched off to the arena to die, she wants to join them. Marcus sacrifices his career by demanding that the emperor spares her life. Nero agrees, but only if she renounces her faith... So, which will eventually triumph - the might of Imperial Rome, or the gentle ones who follow The sign of the cross? Steffi-P at IMDb: "The acting in Sign of the Cross is a bit of a mixed bag, although it is of a higher standard than many of the DeMille talkies. Charles Laughton is hammily brilliant, laying down a blueprint for Emperor Nero which Peter Ustinov would follow to a well-deserved Oscar-nomination in Quo Vadis (1951). However Laughton's part is fairly small, and the screenplay makes Claudette Colbert the real villain. Colbert is fantastic, playing the Empress as an ancient world vamp, giving by far the best performance of the bunch. It's almost a shame that It Happened One Night re-invented her as a major romantic lead because she really was at her best when she played villains." Martin Kukuczka at IMDb adds: "Except for the cruel arena sequence, which is still entertaining in some way, any viewer will be surprised at one scene: Poppaea's famous milk bath. That's a moment that everyone should consider while watching the film. Her sexual bath is one of the best made moments that cinema has ever seen. It is totally filled with desire and sexuality. And all thanks to the great performance by Ms. Colbert. No surprise Cecil B DeMille cast her to play Cleopatra two years later, in 1934." As with many other pre-Code films that were reissued after the Motion Picture Production Code was strictly enforced in 1934, The Sign of the Cross (1932) has a history of censorship. In the original version, Marcus is unsuccessful in his desire to seduce Mercia. He then urges Ancaria (Joyzelle Joyner) to perform the erotic 'Dance of the Naked Moon' that will "warm her into life". This 'lesbian dance' was cut from the negative for a 1938 reissue but was restored by MCA/Universal for its 1993 video release. Some gladiatorial combat footage was also cut for the 1938 reissue, as were arena sequences involving naked women being attacked by crocodiles and a gorilla. These were also restored in 1993.
Sources: Steffi-P (IMDb), Martin Kukuczka (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
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The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
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Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
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State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
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Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton