British postcard in the Film Weekly Series, London.

 

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.

Whoo hoo!

Mr. Granton must have known that I was working on my 3-speed this weekend: purchased brake & gear cables, housing, actuator chain/rod thingy and brake shoes. I rode it to Recyclistas & back sans brakes and in the default high gear, then commenced installation.

 

I realized the fork was bent back a bit (no sign of flex in the top tube or down tube) so I popped off the front wheel, sat down & braced my feet against the bottom bracket, and yarded the fork blades forward (a trick I learned from an old bike shop hand this past summer.) Try that with yer carbon fibre!

 

Package includes (4) 1" pin-back buttons, (2) 3"x1.5" vinyl stickers, flyer, membership card. The back of the card is +/- a condensation of the info on the white insert.

 

Three Rules of the Society of Three Speeds:

1. I will endeavor [US spelling] to promote three speeds as a viable means of transportation.

2. I will not denigrate three speed bicycles and will not allow others to disparage these humble bicycles.

3. I will ride my three speed bicycle with pride and immense enjoyment. If I have not yet procured a three speed bicycle, I will do my best to obtain one post-haste.

A station in Japan has come up with a way of preventing cyclists from parking their bicycles in the wrong places. They have affixed cute drawings by children on the ground next to the railings to which people were locking their bicycles.

  

The Japanese feeling highly identified with the visual world and visual representations of themselves and others. While they can say "I'm stupid," and not take a hit to their self esteem, since they have not internalised a linguistic "generalised other," The Japanese really do not like looking bad, in auto photography, while playing sport, in self-representing Manga. And they do not like visually denigrating things that they like and admire, such as, famously, "stepping stones" (or fumie) used to test whether Japanese were Christians or not during the period of suppression of Christianity.

 

The Edo period authorities new that if they just asked the Japanese "Are you a Christian" they would prevaricate "No, I have given up on that (and will take it up again tomorrow)," "No (but I am still trying to become one)." But if they were forced to stamp on an effigy of the Holy Virgin, then if they were Christian, they would not be able to do it. A recent researcher has used this method to test Japanese self esteem, and implicit attitudes towards races and institutions, by getting Japanese subjects to put crosses on words for self and other, black and white (Mori, 2003; Mori, Uchida, & Imada, 2008). Crossing out (batsu wo tsukeru) is the paper and pen version of stamping.

 

And so back to the images above, they may prove effective in preventing cyclists from parking their bicycles next to the railings due to the affection they feel for the pictures on the pavement, but the pictures should also prevent passers by from standing on them, causing as much, or more, congestion that the illegally parked bicycles that they prevent.

 

Image from Japan Today and originally from Rocket News.

 

Bibliography

Mori, K., Uchida, A., & Imada, R. (2008). A paper-format group performance test for measuring the implicit association of target concepts. Behavior research methods, 40(2), 546-555.

Mori, K. (2003). The development of the FUMIE Test for measuring the implicit association of target words to negative emotions. In Proceedings of the 44th Annual Convention of the Japanese Society for Social Psychology (pp. 104–105). Retrieved from www.tuat.ac.jp/~sarmac/jssp2003.pdf

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.

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

www.wien-vienna.at/index.php?ID=484

Over the eons of time, chance and dexterity have combined to produce many gifted nations among the variegated strains of humanity. But it must be held in the evedential manner of transparency, that few peoples have quite so advantageously decorated the facility of daily existence as that which is properly the due of my native Scotland. Here is yet another fine example!

Kilpatrick McMillan was born in Thornhill a few miles north of Dumfries; where this tribute is located in the Loreburn Shopping Centre. Its strategically located adjacent to the Gents Toilets and hard against the mirrored ceiling which; thanks to parallax, distorts the view creating an interesting tandem-type image.

McMillan was a blacksmith by trade and in 1837 built what he called a 'Dandy Horse' basically a bike without a pedal mechanism - you pushed along with foot-power. He later added a crank and thus can lay claim to being the inventor of the bicycle. McMillan has oft times been denigrated for failing to patent his machine and so monetise his invention. Such misguided criticisms display that palpable ignorance - alas yet to be entirely extirpated, that lies at the heart of a failure to appreciate that the role of the Scot is but to selflessly promote the superior well-being of his fellow-man without recourse to tawdry or alien considerations of personal advantage. Amen to that.

Steve Lorillere | Saint-Tropez Photo | Twitter | facebook

Controversy has erupted over a decision to cover the French medieval walled city in bright yellow circles in the name of art. The covering is temporary and made of metallic tape. Some support the project, but there is a feeling among the locals that the idea denigrates the town and its most famous structure. In any event it comes down in September.

The cunning little Vixen (Leoš Janáček)

 

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

www.wien-vienna.at/index.php?ID=484

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

www.wien-vienna.at/index.php?ID=484

El Cholo Café

Las Vegas, Nevada

This sign for El Cholo Café, an early Mexican restaurant in Las Vegas in the 1950s, brings to light important issues related to Nevada’s cultural demographics and how perceptions and stereotypes of cultural communities can be shaped by commercial advertising. Historically, the word “cholo” was used in the United States along the Mexican-American border as a term referring to working class people of Mexican or Mexican-American descent. In this case, the term “el cholo,” coupled with the pejorative image of the “sleeping Mexican” makes the sign highly charged and potentially controversial. Despite its long history as a denigrating term, the word cholo was turned on its head and used as a symbol of pride in the context of cultural movements of the 1960s. An entire chain of restaurants in Southern California embraced the term as the name for their restaurants beginning in the 1920s.

 

The neon collection of Will Durham.

 

Nevada Museum of Art

10/12–2/13

nevadaart.org

Same; same but different. In Jamaa el Fnaa the night time spruikers call it out as "Same sh¡t; everywhere". It's kind of like that. Except today it's heavy sh¡t.

 

This city is no different. Its centre attracts all the same desperate, disenfranchised, dispossessed, disaffected, deranged and drug addled crowd, as other cities do. They stood out during lockdown because they had nowhere else to go. Most, if not more, are still here. Part of it is a black and white issue.

 

Thirty years ago today that great orator, the PM, PJ Keating delivered what became known as The Redfern Park Speech. The occasion was the launch of the International Year of the World's Indigenous People. The crowd was restive, heckling — same; same but different. When the truth telling began, that all stopped…

 

Recognition that it was we who did the dispossessing.

 

We took the traditional lands and smashed the traditional way of life.

 

We brought the diseases. The alcohol.

 

We committed the murders.

 

We took the children from their mothers.

 

We practised discrimination and exclusion.

 

It was our ignorance and our prejudice.

 

And our failure to imagine these things being done to us…

 

As a consequence, we failed to see that we were doing degraded all of us…

 

Now, this isn't intended to in any way denigrate the import of Keating's words or the ongoing plight of the world's indigenous people. This statue, this other piece of big sh¡t, shouldn't be here; shouldn't be eating that big chip.

 

You see, this wasn't always the beat of gangs of dirty, degraded, begging and thieving magpies. Magpies live on edges; the edges of open places where they have a clear view of their territory and open places to hunt. Just here was surrounded with edges and open places. But that was then and this is now.

 

If you come here at night, when magpies ought to be sleeping, they are out and about: squabbling, fighting over chips, being degraded simulacra of magpies. Why is it so? Why aren't these magpies still on those edges, surveying their open space territories?

 

What happened to that avenue of Eucalyptus mannifera that bisected this city? Oh, that's right, there's a tramway there now. And those open spaces? There's apartment blocks on them now. Their denizens are needed to pay for the tram. In all of this, this urban planning, nobody gave a thought to the original inhabitants. To the developers, those open spaces were terra nullius.

 

Thirty years on, despite Keating's oratory, we have learned nothing. This is not the art of the magpie. This is a mockingbird, a degraded travesty of an artful bird; magpie-shaped, magpie-coloured, magpie in name only.

     

Watercolor (American English) or watercolour (Commonwealth and Ireland), also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle. The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.Materials

Paint

 

Watercolor paint consists of four principal ingredients:

 

pigments, natural or synthetic, mineral or organic;

gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;

additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and

solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.

 

The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints.

 

The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Originally (16th to 18th centuries) watercolor binders were sugars and/or hide glues, but since the 19th century the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and dissolvability of the binder, and with other chemicals added to improve product shelf life.

 

Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.[2] Modern acrylic paints are based on a completely different chemistry that uses water soluble acrylic resin as a binder.

Commercial watercolors

 

Watercolor painters before c.1800 had to make paints themselves using pigments purchased from an apothecary or specialized "colourman"; the earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water. William Reeves (1739–1803) set up in business as a colorman about 1766. In 1781 he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting.

 

Modern commercial watercolor paints are available in two forms: tubes or pans. The majority of paints sold are in collapsible metal tubes in standard sizes (typically 7.5, 15 or 37 ml.), and are formulated to a consistency similar to toothpaste. Pan paints (actually, small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans (approximately 3 cc of paint) and half pans (favored for compact paint boxes). Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters.

 

Among the most widely used brands of commercial watercolors today are Daler Rowney, Daniel Smith, DaVinci, Holbein, Maimeri, M. Graham. Reeves, Schmincke, Sennelier, Talens, and Winsor & Newton.

 

Thanks to modern industrial organic chemistry, the variety, saturation (brilliance) and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill (mechanically mix) them with the vehicle, solvent and additives, and package them.

Color names

 

Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white"

 

To remedy this confusion, in 1990 the art materials industry voluntarily began listing pigment ingredients on the paint packaging, using the common pigment name (such as "cobalt blue" or "cadmium red"), and/or a standard pigment identification code, the generic color index name (PB28 for cobalt blue, PR108 for cadmium red) assigned by the Society of Dyers and Colourists (UK) and the American Association of Textile Chemists and Colorists (USA) and known as the Colour Index International. This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name (e.g., "sap green") from different manufacturers can be formulated with completely different ingredients.

Transparency

 

Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper (which itself may be either white or tinted). The resulting color will change depending on the layering order of the pigments. In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors (with the exception of gouache); and any watercolor paint can be made more transparent simply by diluting it with water.

 

"Transparent" colors do not contain titanium dioxide (white) or most of the earth pigments (sienna, umber, etc.) which are very opaque. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper[citation needed] – the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: watercolor paints do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency consists in the paper being directly visible between the particles.[3] Watercolors appear more vivid than acrylics or oils because the pigments are laid down in a more pure form with no or fewer fillers (such as kaolin) obscuring the pigment colors. Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.[3] Even multiple layers of watercolor do achieve a very luminous effect without fillers or binder obscuring the pigment particles.

Pigments characteristics

 

Staining is a characteristic assigned to watercolor paints: a staining paint is difficult to remove or lift from the painting support after it has been applied or dried. Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support (paper) itself, and on the particle size of the pigment. Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling (mixture) time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color.

 

Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian (PG18), cerulean blue (PB35), cobalt violet (PV14) and some iron oxide pigments (PBr7).

 

Flocculation refers to a peculiar clumping typical of ultramarine pigments (PB29 or PV15). Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.

Grades

 

Commercial watercolor paints come in three grades: "Artist" (or "Professional"), "Student", and "Scholastic".

 

Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers (kaolin or chalk) which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette. Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.

Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors.

Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder. Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting.

 

Reserves

 

As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper. Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint (titanium dioxide PW6 or zinc oxide PW4) is best used to insert highlights or white accents into a painting. If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint (gouache) mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller. White paint will always appear dull and chalky next to the white of the paper; however this can be used for some effects.

Brushes

 

A brush consists of three parts: the tuft, the ferrule and the handle.

 

The tuft is a bundle of animal hairs or synthetic fibers tied tightly together at the base;

The ferrule is a metal sleeve that surrounds the tuft, gives the tuft its cross sectional shape, provides mechanical support under pressure, and protects from water wearing down the glue joint between the trimmed, flat base of the tuft and the handle;

The lacquered wood handle, which is typically shorter in a watercolor brush than in an oil painting brush, has a distinct shape—widest just behind the ferrule and tapering to the tip.

 

When painting, painters typically hold the brush just behind the ferrule for the smoothest brushstrokes.

Hairs and fibers

 

Brushes hold paint (the "bead") through the capillary action of the small spaces between the tuft hairs or fibers; paint is released through the contact between the wet paint and the dry paper and the mechanical flexing of the tuft, which opens the spaces between the tuft hairs, relaxing the capillary restraint on the liquid. Because thinned watercolor paint is far less viscous than oil or acrylic paints, the brushes preferred by watercolor painters have a softer and denser tuft. This is customarily achieved by using natural hair harvested from farm raised or trapped animals, in particular sable, squirrel or mongoose. Less expensive brushes, or brushes designed for coarser work, may use horsehair or bristles from pig or ox snouts and ears.

 

However, as with paints, modern chemistry has developed many synthetic and shaped fibers that rival the stiffness of bristle and mimic the spring and softness of natural hair. Until fairly recently, nylon brushes could not hold a reservoir of water at all so they were extremely inferior to brushes made from natural hair. In recent years, improvements in the holding and pointing properties of synthetic filaments have gained them much greater acceptance among watercolorists.

 

There is no market regulation on the labeling applied to artists' brushes, but most watercolorists prize brushes from kolinsky (Russian or Chinese) sable. The best of these hairs have a characteristic reddish brown color, darker near the base, and a tapering shaft that is pointed at the tip but widest about halfway toward the root. Squirrel hair is quite thin, straight and typically dark, and makes tufts with a very high liquid capacity; mongoose has a characteristic salt and pepper coloring. Bristle brushes are stiffer and lighter colored. "Camel" is sometimes used to describe hairs from several sources (none of them a camel).

 

In general, natural hair brushes have superior snap and pointing, a higher capacity (hold a larger bead, produce a longer continuous stroke, and wick up more paint when moist) and a more delicate release. Synthetic brushes tend to dump too much of the paint bead at the beginning of the brush stroke and leave a larger puddle of paint when the brush is lifted from the paper, and they cannot compete with the pointing of natural sable brushes and are much less durable. On the other hand they are typically much cheaper than natural hair, and the best synthetic brushes are now very serviceable; they are also excellent for texturing, shaping, or lifting color, and for the mechanical task of breaking up or rubbing paint to dissolve it in water.

 

A high quality sable brush has five key attributes: pointing (in a round, the tip of the tuft comes to a fine, precise point that does not splay or split; in a flat, the tuft forms a razor thin, perfectly straight edge); snap (or "spring"; the tuft flexes in direct response to the pressure applied to the paper, and promptly returns to its original shape); capacity (the tuft, for its size, holds a large bead of paint and does not release it as the brush is moved in the air); release (the amount of paint released is proportional to the pressure applied to the paper, and the paint flow can be precisely controlled by the pressure and speed of the stroke as the paint bead is depleted); and durability (a large, high quality brush may withstand decades of daily use).

 

Most natural hair brushes are sold with the tuft cosmetically shaped with starch or gum, so brushes are difficult to evaluate before purchasing, and durability is only evident after long use. The most common failings of natural hair brushes are that the tuft sheds hairs (although a little shedding is acceptable in a new brush), the ferrule becomes loosened, or the wood handle shrinks, warps, cracks or flakes off its lacquer coating.

Shapes

 

Natural and synthetic brushes are sold with the tuft shaped for different tasks. Among the most popular are:

 

Rounds. The tuft has a round cross section but a tapering profile, widest near the ferrule (the "belly") and tapered at the tip (the "point"). These are general purpose brushes that can address almost any task.

Flats. The tuft is compressed laterally by the ferrule into a flat wedge; the tuft appears square when viewed from the side and has a perfectly straight edge. "Brights" are flats in which the tuft is as long as it is wide; "one stroke" brushes are longer than their width. "Sky brushes" or "wash brushes" look like miniature housepainting brushes; the tuft is usually 3 cm to 7 cm wide and is used to paint large areas.

Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.

Filbert (or "Cat's Tongue", hair only). A hybrid brush: a flat that comes to a point, like a round, useful for specially shaped brush strokes.

Rigger (hair only). An extremely long, thin tuft, originally used to paint the rigging in nautical portraits.

Fan. A small flat in which the tuft is splayed into a fan shape; used for texturing or painting irregular, parallel hatching lines.

Acrylic. A flat brush with synthetic bristles, attached to a (usually clear) plastic handle with a beveled tip used for scoring or scraping.

 

A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes, and its brushmarks display the characteristic angle of the tuft corners.

 

Every watercolor painter works in specific genres and has a personal painting style and "tool discipline", and these largely determine his or her preference for brushes. Artists typically have a few favorites and do most work with just one or two brushes. Brushes are typically the most expensive component of the watercolorist's tools, and a minimal general purpose brush selection would include:

 

4 round (for detail and drybrush)

8 round

12 or 14 round (for large color areas or washes)

1/2" or 1" flat

12 mop (for washes and wicking)

1/2" acrylic (for dissolving or mixing paints, and scrubbing paints before lifting from the paper)

 

Major watercolor brush manufacturers include DaVinci, Escoda, Isabey, Raphael, Kolonok, Robert Simmons, Daler-Rowney, Arches, and Winsor & Newton. As with papers and paints, it is common for retailers to commission brushes under their own label from an established manufacturer. Among these are Cheap Joe's, Daniel Smith, Dick Blick and Utrecht.

Sizes

 

The size of a round brush is designated by a number, which may range from 0000 (for a very tiny round) to 0, then from 1 to 24 or higher. These numbers refer to the size of the brass brushmakers' mould used to shape and align the hairs of the tuft before it is tied off and trimmed, and as with shoe lasts, these sizes vary from one manufacturer to the next. In general a #12 round brush has a tuft about 2 to 2.5 cm long; tufts are generally fatter (wider) in brushes made in England than in brushes made on the Continent: a German or French #14 round is approximately the same size as an English #12. Flats may be designated either by a similar but separate numbering system, but more often are described by the width of the ferrule, measured in centimeters or inches.

Watercolor pencil

 

Watercolor pencil is another important tool in watercolors techniques. This water-soluble color pencil allows to draw fine details and to blend them with water. Noted artists who use watercolor pencils include illustrator Travis Charest.[4] A similar tool is the watercolor pastel, broader than watercolor pencil, and able to quickly cover a large surface.

Paper

 

Most watercolor painters before c.1800 had to use whatever paper was at hand: Thomas Gainsborough was delighted to buy some paper used to print a Bath tourist guide, and the young David Cox preferred a heavy paper used to wrap packages. James Whatman first offered a wove watercolor paper in 1788, and the first machinemade ("cartridge") papers from a steam powered mill in 1805.

 

All art papers can be described by eight attributes: furnish, color, weight, finish, sizing, dimensions, permanence and packaging. Watercolor painters typically paint on paper specifically formulated for watermedia applications. Fine watermedia papers are manufactured under the brand names Arches, Bockingford, Cartiera Magnani, Fabriano, Hahnemühle, Lanaquarelle, The Langton, The Langton Prestige, Millford, Saunders Waterford, Strathmore, Winsor & Newton and Zerkall; and there has been a recent remarkable resurgence in handmade papers, notably those by Twinrocker, Velke Losiny, Ruscombe Mill and St. Armand.

 

Watercolor paper is essentially Blotting paper marketed and sold as an art paper, and the two can be used interchangeably, as watercolor paper is more easily obtainable than blotter and can be used as a substitute for blotter. Lower end watercolor papers can resemble heavy paper more while higher end varieties are usually entirely cotton and more porous like blotter. Watercolor paper is traditionally torn and not cut.

Furnish

 

The traditional furnish or material content of watercolor papers is cellulose, a structural carbohydrate found in many plants. The most common sources of paper cellulose are cotton, linen, or alpha cellulose extracted from wood pulp. To make paper, the cellulose is wetted, mechanically macerated or pounded, chemically treated, rinsed and filtered to the consistency of thin oatmeal, then poured out into paper making moulds. In handmade papers, the pulp is hand poured ("cast") into individual paper moulds (a mesh screen stretched within a wood frame) and shaken by hand into an even layer. In industrial paper production, the pulp is formed by large papermaking machines that spread the paper over large cylinders—either heated metal cylinders that rotate at high speed (machinemade papers) or wire mesh cylinders that rotate at low speed (mouldmade papers). Both types of machine produce the paper in a continuous roll or web, which is then cut into individual sheets.

Weight

 

The basis weight of the paper is a measure of its density and thickness. It is described as the gram weight of one square meter of a single sheet of the paper, or grams per square meter (gsm). Most watercolor papers sold today are in the range between 280gsm to 640gsm. (The previous Imperial system, expressed as the weight in pounds of one ream or 500 sheets of the paper, regardless of its size, obsolete in some areas, is still used in the United States. The most common weights under this system are 300 lb (heaviest), 200 lb 140 lb, and 90 lb.) Heavier paper is sometimes preferred over lighter weight or thinner paper because it does not buckle and can hold up to scrubbing and extremely wet washes. Watercolor papers are typically almost a pure white, sometimes slightly yellow (called natural white), though many tinted or colored papers are available. An important diagnostic is the rattle of the paper, or the sound it makes when held aloft by one corner and shaken vigorously. Papers that are dense and made from heavily macerated pulp have a bright, metallic rattle, while papers that are spongy or made with lightly macerated pulp have a muffled, rubbery rattle.

Finish

 

All papers obtain a texture from the mold used to make them: a wove finish results from a uniform metal screen (like a window screen); a laid finish results from a screen made of narrowly spaced horizontal wires separated by widely spaced vertical wires. The finish is also affected by the methods used to wick and dry the paper after it is "couched" (removed) from the paper mold or is pulled off the papermaking cylinder.

 

Watercolor papers come in three basic finishes: hot pressed (HP), cold press (CP, or in the UK "Not", for "not hot pressed"), and rough (R). These vary greatly from manufacturer to manufacturer.

 

Rough papers are typically dried by hanging them like laundry ("loft drying") so that the sheets are not exposed to any pressure after they are couched; the wove finish has a pitted, uneven texture that is prized for its ability to accent the texture of watercolor pigments and brushstrokes.

Cold pressed papers are dried in large stacks, between absorbent felt blankets; this acts to flatten out about half of the texture found in the rough sheets. CP papers are valued for their versatility.

Hot pressed papers are cold pressed sheets that are passed through heated, compressing metal cylinders (called "calendering"), which flattens almost all the texture in the sheets. HP papers are valued because they are relatively nonabsorbent: pigments remain on the paper surface, brightening the color, and water is not absorbed, so it can produce a variety of water stains or marks as it dries.

 

These designations are only relative; the CP paper from one manufacturer may be rougher than the R paper from another manufacturer. Fabriano even offers a "soft press" (SP) sheet intermediate between CP and HP.

Sizing

 

Watercolor papers are traditionally sized, or treated with a substance to reduce the cellulose absorbency. Internal sizing is added to the paper pulp after rinsing and before it is cast in the paper mould; external or "tub" sizing is applied to the paper surface after the paper has dried. The traditional sizing has been gelatin, gum arabic or rosin, though modern synthetic substitutes (alkyl ketene dimers such as Aquapel) are now used instead. The highly absorbent papers that contain no sizing are designated waterleaf.

Dimensions

 

Most art papers are sold as single sheets of paper in standard sizes. Most common is the full sheet (22" x 30"), and half sheets (15" x 22") or quarter sheets (15" x 11") derived from it. Larger (and less standardized) sheets include the double elephant (within an inch or two of 30" x 40") and emperor (40" x 60"), which are the largest sheets commercially available. Papers are also manufactured in rolls, up to about 60" wide and 30 feet long. Finally, papers are also sold as watercolor "blocks"—a pad of 20 or so sheets of paper, cut to identical dimensions and glued on all four sides, which provides high dimensional stability and portability, though block papers tend to have subdued finishes. The painter simply works on the exposed sheet and, when finished, uses a knife to cut the adhesive around the four sides, separating the painting and revealing the fresh paper underneath.

Watercolor (American English) or watercolour (Commonwealth and Ireland), also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle. The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.Materials

Paint

 

Watercolor paint consists of four principal ingredients:

 

pigments, natural or synthetic, mineral or organic;

gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;

additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and

solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.

 

The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints.

 

The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Originally (16th to 18th centuries) watercolor binders were sugars and/or hide glues, but since the 19th century the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and dissolvability of the binder, and with other chemicals added to improve product shelf life.

 

Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.[2] Modern acrylic paints are based on a completely different chemistry that uses water soluble acrylic resin as a binder.

Commercial watercolors

 

Watercolor painters before c.1800 had to make paints themselves using pigments purchased from an apothecary or specialized "colourman"; the earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water. William Reeves (1739–1803) set up in business as a colorman about 1766. In 1781 he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting.

 

Modern commercial watercolor paints are available in two forms: tubes or pans. The majority of paints sold are in collapsible metal tubes in standard sizes (typically 7.5, 15 or 37 ml.), and are formulated to a consistency similar to toothpaste. Pan paints (actually, small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans (approximately 3 cc of paint) and half pans (favored for compact paint boxes). Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters.

 

Among the most widely used brands of commercial watercolors today are Daler Rowney, Daniel Smith, DaVinci, Holbein, Maimeri, M. Graham. Reeves, Schmincke, Sennelier, Talens, and Winsor & Newton.

 

Thanks to modern industrial organic chemistry, the variety, saturation (brilliance) and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill (mechanically mix) them with the vehicle, solvent and additives, and package them.

Color names

 

Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white"

 

To remedy this confusion, in 1990 the art materials industry voluntarily began listing pigment ingredients on the paint packaging, using the common pigment name (such as "cobalt blue" or "cadmium red"), and/or a standard pigment identification code, the generic color index name (PB28 for cobalt blue, PR108 for cadmium red) assigned by the Society of Dyers and Colourists (UK) and the American Association of Textile Chemists and Colorists (USA) and known as the Colour Index International. This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name (e.g., "sap green") from different manufacturers can be formulated with completely different ingredients.

Transparency

 

Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper (which itself may be either white or tinted). The resulting color will change depending on the layering order of the pigments. In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors (with the exception of gouache); and any watercolor paint can be made more transparent simply by diluting it with water.

 

"Transparent" colors do not contain titanium dioxide (white) or most of the earth pigments (sienna, umber, etc.) which are very opaque. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper[citation needed] – the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: watercolor paints do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency consists in the paper being directly visible between the particles.[3] Watercolors appear more vivid than acrylics or oils because the pigments are laid down in a more pure form with no or fewer fillers (such as kaolin) obscuring the pigment colors. Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.[3] Even multiple layers of watercolor do achieve a very luminous effect without fillers or binder obscuring the pigment particles.

Pigments characteristics

 

Staining is a characteristic assigned to watercolor paints: a staining paint is difficult to remove or lift from the painting support after it has been applied or dried. Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support (paper) itself, and on the particle size of the pigment. Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling (mixture) time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color.

 

Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian (PG18), cerulean blue (PB35), cobalt violet (PV14) and some iron oxide pigments (PBr7).

 

Flocculation refers to a peculiar clumping typical of ultramarine pigments (PB29 or PV15). Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.

Grades

 

Commercial watercolor paints come in three grades: "Artist" (or "Professional"), "Student", and "Scholastic".

 

Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers (kaolin or chalk) which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette. Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.

Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors.

Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder. Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting.

 

Reserves

 

As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper. Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint (titanium dioxide PW6 or zinc oxide PW4) is best used to insert highlights or white accents into a painting. If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint (gouache) mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller. White paint will always appear dull and chalky next to the white of the paper; however this can be used for some effects.

Brushes

 

A brush consists of three parts: the tuft, the ferrule and the handle.

 

The tuft is a bundle of animal hairs or synthetic fibers tied tightly together at the base;

The ferrule is a metal sleeve that surrounds the tuft, gives the tuft its cross sectional shape, provides mechanical support under pressure, and protects from water wearing down the glue joint between the trimmed, flat base of the tuft and the handle;

The lacquered wood handle, which is typically shorter in a watercolor brush than in an oil painting brush, has a distinct shape—widest just behind the ferrule and tapering to the tip.

 

When painting, painters typically hold the brush just behind the ferrule for the smoothest brushstrokes.

Hairs and fibers

 

Brushes hold paint (the "bead") through the capillary action of the small spaces between the tuft hairs or fibers; paint is released through the contact between the wet paint and the dry paper and the mechanical flexing of the tuft, which opens the spaces between the tuft hairs, relaxing the capillary restraint on the liquid. Because thinned watercolor paint is far less viscous than oil or acrylic paints, the brushes preferred by watercolor painters have a softer and denser tuft. This is customarily achieved by using natural hair harvested from farm raised or trapped animals, in particular sable, squirrel or mongoose. Less expensive brushes, or brushes designed for coarser work, may use horsehair or bristles from pig or ox snouts and ears.

 

However, as with paints, modern chemistry has developed many synthetic and shaped fibers that rival the stiffness of bristle and mimic the spring and softness of natural hair. Until fairly recently, nylon brushes could not hold a reservoir of water at all so they were extremely inferior to brushes made from natural hair. In recent years, improvements in the holding and pointing properties of synthetic filaments have gained them much greater acceptance among watercolorists.

 

There is no market regulation on the labeling applied to artists' brushes, but most watercolorists prize brushes from kolinsky (Russian or Chinese) sable. The best of these hairs have a characteristic reddish brown color, darker near the base, and a tapering shaft that is pointed at the tip but widest about halfway toward the root. Squirrel hair is quite thin, straight and typically dark, and makes tufts with a very high liquid capacity; mongoose has a characteristic salt and pepper coloring. Bristle brushes are stiffer and lighter colored. "Camel" is sometimes used to describe hairs from several sources (none of them a camel).

 

In general, natural hair brushes have superior snap and pointing, a higher capacity (hold a larger bead, produce a longer continuous stroke, and wick up more paint when moist) and a more delicate release. Synthetic brushes tend to dump too much of the paint bead at the beginning of the brush stroke and leave a larger puddle of paint when the brush is lifted from the paper, and they cannot compete with the pointing of natural sable brushes and are much less durable. On the other hand they are typically much cheaper than natural hair, and the best synthetic brushes are now very serviceable; they are also excellent for texturing, shaping, or lifting color, and for the mechanical task of breaking up or rubbing paint to dissolve it in water.

 

A high quality sable brush has five key attributes: pointing (in a round, the tip of the tuft comes to a fine, precise point that does not splay or split; in a flat, the tuft forms a razor thin, perfectly straight edge); snap (or "spring"; the tuft flexes in direct response to the pressure applied to the paper, and promptly returns to its original shape); capacity (the tuft, for its size, holds a large bead of paint and does not release it as the brush is moved in the air); release (the amount of paint released is proportional to the pressure applied to the paper, and the paint flow can be precisely controlled by the pressure and speed of the stroke as the paint bead is depleted); and durability (a large, high quality brush may withstand decades of daily use).

 

Most natural hair brushes are sold with the tuft cosmetically shaped with starch or gum, so brushes are difficult to evaluate before purchasing, and durability is only evident after long use. The most common failings of natural hair brushes are that the tuft sheds hairs (although a little shedding is acceptable in a new brush), the ferrule becomes loosened, or the wood handle shrinks, warps, cracks or flakes off its lacquer coating.

Shapes

 

Natural and synthetic brushes are sold with the tuft shaped for different tasks. Among the most popular are:

 

Rounds. The tuft has a round cross section but a tapering profile, widest near the ferrule (the "belly") and tapered at the tip (the "point"). These are general purpose brushes that can address almost any task.

Flats. The tuft is compressed laterally by the ferrule into a flat wedge; the tuft appears square when viewed from the side and has a perfectly straight edge. "Brights" are flats in which the tuft is as long as it is wide; "one stroke" brushes are longer than their width. "Sky brushes" or "wash brushes" look like miniature housepainting brushes; the tuft is usually 3 cm to 7 cm wide and is used to paint large areas.

Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.

Filbert (or "Cat's Tongue", hair only). A hybrid brush: a flat that comes to a point, like a round, useful for specially shaped brush strokes.

Rigger (hair only). An extremely long, thin tuft, originally used to paint the rigging in nautical portraits.

Fan. A small flat in which the tuft is splayed into a fan shape; used for texturing or painting irregular, parallel hatching lines.

Acrylic. A flat brush with synthetic bristles, attached to a (usually clear) plastic handle with a beveled tip used for scoring or scraping.

 

A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes, and its brushmarks display the characteristic angle of the tuft corners.

 

Every watercolor painter works in specific genres and has a personal painting style and "tool discipline", and these largely determine his or her preference for brushes. Artists typically have a few favorites and do most work with just one or two brushes. Brushes are typically the most expensive component of the watercolorist's tools, and a minimal general purpose brush selection would include:

 

4 round (for detail and drybrush)

8 round

12 or 14 round (for large color areas or washes)

1/2" or 1" flat

12 mop (for washes and wicking)

1/2" acrylic (for dissolving or mixing paints, and scrubbing paints before lifting from the paper)

 

Major watercolor brush manufacturers include DaVinci, Escoda, Isabey, Raphael, Kolonok, Robert Simmons, Daler-Rowney, Arches, and Winsor & Newton. As with papers and paints, it is common for retailers to commission brushes under their own label from an established manufacturer. Among these are Cheap Joe's, Daniel Smith, Dick Blick and Utrecht.

Sizes

 

The size of a round brush is designated by a number, which may range from 0000 (for a very tiny round) to 0, then from 1 to 24 or higher. These numbers refer to the size of the brass brushmakers' mould used to shape and align the hairs of the tuft before it is tied off and trimmed, and as with shoe lasts, these sizes vary from one manufacturer to the next. In general a #12 round brush has a tuft about 2 to 2.5 cm long; tufts are generally fatter (wider) in brushes made in England than in brushes made on the Continent: a German or French #14 round is approximately the same size as an English #12. Flats may be designated either by a similar but separate numbering system, but more often are described by the width of the ferrule, measured in centimeters or inches.

Watercolor pencil

 

Watercolor pencil is another important tool in watercolors techniques. This water-soluble color pencil allows to draw fine details and to blend them with water. Noted artists who use watercolor pencils include illustrator Travis Charest.[4] A similar tool is the watercolor pastel, broader than watercolor pencil, and able to quickly cover a large surface.

Paper

 

Most watercolor painters before c.1800 had to use whatever paper was at hand: Thomas Gainsborough was delighted to buy some paper used to print a Bath tourist guide, and the young David Cox preferred a heavy paper used to wrap packages. James Whatman first offered a wove watercolor paper in 1788, and the first machinemade ("cartridge") papers from a steam powered mill in 1805.

 

All art papers can be described by eight attributes: furnish, color, weight, finish, sizing, dimensions, permanence and packaging. Watercolor painters typically paint on paper specifically formulated for watermedia applications. Fine watermedia papers are manufactured under the brand names Arches, Bockingford, Cartiera Magnani, Fabriano, Hahnemühle, Lanaquarelle, The Langton, The Langton Prestige, Millford, Saunders Waterford, Strathmore, Winsor & Newton and Zerkall; and there has been a recent remarkable resurgence in handmade papers, notably those by Twinrocker, Velke Losiny, Ruscombe Mill and St. Armand.

 

Watercolor paper is essentially Blotting paper marketed and sold as an art paper, and the two can be used interchangeably, as watercolor paper is more easily obtainable than blotter and can be used as a substitute for blotter. Lower end watercolor papers can resemble heavy paper more while higher end varieties are usually entirely cotton and more porous like blotter. Watercolor paper is traditionally torn and not cut.

Furnish

 

The traditional furnish or material content of watercolor papers is cellulose, a structural carbohydrate found in many plants. The most common sources of paper cellulose are cotton, linen, or alpha cellulose extracted from wood pulp. To make paper, the cellulose is wetted, mechanically macerated or pounded, chemically treated, rinsed and filtered to the consistency of thin oatmeal, then poured out into paper making moulds. In handmade papers, the pulp is hand poured ("cast") into individual paper moulds (a mesh screen stretched within a wood frame) and shaken by hand into an even layer. In industrial paper production, the pulp is formed by large papermaking machines that spread the paper over large cylinders—either heated metal cylinders that rotate at high speed (machinemade papers) or wire mesh cylinders that rotate at low speed (mouldmade papers). Both types of machine produce the paper in a continuous roll or web, which is then cut into individual sheets.

Weight

 

The basis weight of the paper is a measure of its density and thickness. It is described as the gram weight of one square meter of a single sheet of the paper, or grams per square meter (gsm). Most watercolor papers sold today are in the range between 280gsm to 640gsm. (The previous Imperial system, expressed as the weight in pounds of one ream or 500 sheets of the paper, regardless of its size, obsolete in some areas, is still used in the United States. The most common weights under this system are 300 lb (heaviest), 200 lb 140 lb, and 90 lb.) Heavier paper is sometimes preferred over lighter weight or thinner paper because it does not buckle and can hold up to scrubbing and extremely wet washes. Watercolor papers are typically almost a pure white, sometimes slightly yellow (called natural white), though many tinted or colored papers are available. An important diagnostic is the rattle of the paper, or the sound it makes when held aloft by one corner and shaken vigorously. Papers that are dense and made from heavily macerated pulp have a bright, metallic rattle, while papers that are spongy or made with lightly macerated pulp have a muffled, rubbery rattle.

Finish

 

All papers obtain a texture from the mold used to make them: a wove finish results from a uniform metal screen (like a window screen); a laid finish results from a screen made of narrowly spaced horizontal wires separated by widely spaced vertical wires. The finish is also affected by the methods used to wick and dry the paper after it is "couched" (removed) from the paper mold or is pulled off the papermaking cylinder.

 

Watercolor papers come in three basic finishes: hot pressed (HP), cold press (CP, or in the UK "Not", for "not hot pressed"), and rough (R). These vary greatly from manufacturer to manufacturer.

 

Rough papers are typically dried by hanging them like laundry ("loft drying") so that the sheets are not exposed to any pressure after they are couched; the wove finish has a pitted, uneven texture that is prized for its ability to accent the texture of watercolor pigments and brushstrokes.

Cold pressed papers are dried in large stacks, between absorbent felt blankets; this acts to flatten out about half of the texture found in the rough sheets. CP papers are valued for their versatility.

Hot pressed papers are cold pressed sheets that are passed through heated, compressing metal cylinders (called "calendering"), which flattens almost all the texture in the sheets. HP papers are valued because they are relatively nonabsorbent: pigments remain on the paper surface, brightening the color, and water is not absorbed, so it can produce a variety of water stains or marks as it dries.

 

These designations are only relative; the CP paper from one manufacturer may be rougher than the R paper from another manufacturer. Fabriano even offers a "soft press" (SP) sheet intermediate between CP and HP.

Sizing

 

Watercolor papers are traditionally sized, or treated with a substance to reduce the cellulose absorbency. Internal sizing is added to the paper pulp after rinsing and before it is cast in the paper mould; external or "tub" sizing is applied to the paper surface after the paper has dried. The traditional sizing has been gelatin, gum arabic or rosin, though modern synthetic substitutes (alkyl ketene dimers such as Aquapel) are now used instead. The highly absorbent papers that contain no sizing are designated waterleaf.

Dimensions

 

Most art papers are sold as single sheets of paper in standard sizes. Most common is the full sheet (22" x 30"), and half sheets (15" x 22") or quarter sheets (15" x 11") derived from it. Larger (and less standardized) sheets include the double elephant (within an inch or two of 30" x 40") and emperor (40" x 60"), which are the largest sheets commercially available. Papers are also manufactured in rolls, up to about 60" wide and 30 feet long. Finally, papers are also sold as watercolor "blocks"—a pad of 20 or so sheets of paper, cut to identical dimensions and glued on all four sides, which provides high dimensional stability and portability, though block papers tend to have subdued finishes. The painter simply works on the exposed sheet and, when finished, uses a knife to cut the adhesive around the four sides, separating the painting and revealing the fresh paper underneath.

The railway points operator would use these levers to direct trains onto the correct lines. This has been preserved at the Ultimo Goods Line. The photo was taken with the much denigrated 40-80 zoom. But it's actually OK. Maybe it just doesn't make sense on APSC digitals. Pentax ME Super; Pentax M 40-80 2.8-4; Ilford FP4+ 125 ISO; Epsom V550.

Watercolor (American English) or watercolour (Commonwealth and Ireland), also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle. The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.Materials

Paint

 

Watercolor paint consists of four principal ingredients:

 

pigments, natural or synthetic, mineral or organic;

gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;

additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and

solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.

 

The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints.

 

The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Originally (16th to 18th centuries) watercolor binders were sugars and/or hide glues, but since the 19th century the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and dissolvability of the binder, and with other chemicals added to improve product shelf life.

 

Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.[2] Modern acrylic paints are based on a completely different chemistry that uses water soluble acrylic resin as a binder.

Commercial watercolors

 

Watercolor painters before c.1800 had to make paints themselves using pigments purchased from an apothecary or specialized "colourman"; the earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water. William Reeves (1739–1803) set up in business as a colorman about 1766. In 1781 he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting.

 

Modern commercial watercolor paints are available in two forms: tubes or pans. The majority of paints sold are in collapsible metal tubes in standard sizes (typically 7.5, 15 or 37 ml.), and are formulated to a consistency similar to toothpaste. Pan paints (actually, small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans (approximately 3 cc of paint) and half pans (favored for compact paint boxes). Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters.

 

Among the most widely used brands of commercial watercolors today are Daler Rowney, Daniel Smith, DaVinci, Holbein, Maimeri, M. Graham. Reeves, Schmincke, Sennelier, Talens, and Winsor & Newton.

 

Thanks to modern industrial organic chemistry, the variety, saturation (brilliance) and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill (mechanically mix) them with the vehicle, solvent and additives, and package them.

Color names

 

Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white"

 

To remedy this confusion, in 1990 the art materials industry voluntarily began listing pigment ingredients on the paint packaging, using the common pigment name (such as "cobalt blue" or "cadmium red"), and/or a standard pigment identification code, the generic color index name (PB28 for cobalt blue, PR108 for cadmium red) assigned by the Society of Dyers and Colourists (UK) and the American Association of Textile Chemists and Colorists (USA) and known as the Colour Index International. This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name (e.g., "sap green") from different manufacturers can be formulated with completely different ingredients.

Transparency

 

Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper (which itself may be either white or tinted). The resulting color will change depending on the layering order of the pigments. In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors (with the exception of gouache); and any watercolor paint can be made more transparent simply by diluting it with water.

 

"Transparent" colors do not contain titanium dioxide (white) or most of the earth pigments (sienna, umber, etc.) which are very opaque. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper[citation needed] – the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: watercolor paints do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency consists in the paper being directly visible between the particles.[3] Watercolors appear more vivid than acrylics or oils because the pigments are laid down in a more pure form with no or fewer fillers (such as kaolin) obscuring the pigment colors. Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.[3] Even multiple layers of watercolor do achieve a very luminous effect without fillers or binder obscuring the pigment particles.

Pigments characteristics

 

Staining is a characteristic assigned to watercolor paints: a staining paint is difficult to remove or lift from the painting support after it has been applied or dried. Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support (paper) itself, and on the particle size of the pigment. Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling (mixture) time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color.

 

Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian (PG18), cerulean blue (PB35), cobalt violet (PV14) and some iron oxide pigments (PBr7).

 

Flocculation refers to a peculiar clumping typical of ultramarine pigments (PB29 or PV15). Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.

Grades

 

Commercial watercolor paints come in three grades: "Artist" (or "Professional"), "Student", and "Scholastic".

 

Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers (kaolin or chalk) which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette. Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.

Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors.

Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder. Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting.

 

Reserves

 

As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper. Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint (titanium dioxide PW6 or zinc oxide PW4) is best used to insert highlights or white accents into a painting. If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint (gouache) mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller. White paint will always appear dull and chalky next to the white of the paper; however this can be used for some effects.

Brushes

 

A brush consists of three parts: the tuft, the ferrule and the handle.

 

The tuft is a bundle of animal hairs or synthetic fibers tied tightly together at the base;

The ferrule is a metal sleeve that surrounds the tuft, gives the tuft its cross sectional shape, provides mechanical support under pressure, and protects from water wearing down the glue joint between the trimmed, flat base of the tuft and the handle;

The lacquered wood handle, which is typically shorter in a watercolor brush than in an oil painting brush, has a distinct shape—widest just behind the ferrule and tapering to the tip.

 

When painting, painters typically hold the brush just behind the ferrule for the smoothest brushstrokes.

Hairs and fibers

 

Brushes hold paint (the "bead") through the capillary action of the small spaces between the tuft hairs or fibers; paint is released through the contact between the wet paint and the dry paper and the mechanical flexing of the tuft, which opens the spaces between the tuft hairs, relaxing the capillary restraint on the liquid. Because thinned watercolor paint is far less viscous than oil or acrylic paints, the brushes preferred by watercolor painters have a softer and denser tuft. This is customarily achieved by using natural hair harvested from farm raised or trapped animals, in particular sable, squirrel or mongoose. Less expensive brushes, or brushes designed for coarser work, may use horsehair or bristles from pig or ox snouts and ears.

 

However, as with paints, modern chemistry has developed many synthetic and shaped fibers that rival the stiffness of bristle and mimic the spring and softness of natural hair. Until fairly recently, nylon brushes could not hold a reservoir of water at all so they were extremely inferior to brushes made from natural hair. In recent years, improvements in the holding and pointing properties of synthetic filaments have gained them much greater acceptance among watercolorists.

 

There is no market regulation on the labeling applied to artists' brushes, but most watercolorists prize brushes from kolinsky (Russian or Chinese) sable. The best of these hairs have a characteristic reddish brown color, darker near the base, and a tapering shaft that is pointed at the tip but widest about halfway toward the root. Squirrel hair is quite thin, straight and typically dark, and makes tufts with a very high liquid capacity; mongoose has a characteristic salt and pepper coloring. Bristle brushes are stiffer and lighter colored. "Camel" is sometimes used to describe hairs from several sources (none of them a camel).

 

In general, natural hair brushes have superior snap and pointing, a higher capacity (hold a larger bead, produce a longer continuous stroke, and wick up more paint when moist) and a more delicate release. Synthetic brushes tend to dump too much of the paint bead at the beginning of the brush stroke and leave a larger puddle of paint when the brush is lifted from the paper, and they cannot compete with the pointing of natural sable brushes and are much less durable. On the other hand they are typically much cheaper than natural hair, and the best synthetic brushes are now very serviceable; they are also excellent for texturing, shaping, or lifting color, and for the mechanical task of breaking up or rubbing paint to dissolve it in water.

 

A high quality sable brush has five key attributes: pointing (in a round, the tip of the tuft comes to a fine, precise point that does not splay or split; in a flat, the tuft forms a razor thin, perfectly straight edge); snap (or "spring"; the tuft flexes in direct response to the pressure applied to the paper, and promptly returns to its original shape); capacity (the tuft, for its size, holds a large bead of paint and does not release it as the brush is moved in the air); release (the amount of paint released is proportional to the pressure applied to the paper, and the paint flow can be precisely controlled by the pressure and speed of the stroke as the paint bead is depleted); and durability (a large, high quality brush may withstand decades of daily use).

 

Most natural hair brushes are sold with the tuft cosmetically shaped with starch or gum, so brushes are difficult to evaluate before purchasing, and durability is only evident after long use. The most common failings of natural hair brushes are that the tuft sheds hairs (although a little shedding is acceptable in a new brush), the ferrule becomes loosened, or the wood handle shrinks, warps, cracks or flakes off its lacquer coating.

Shapes

 

Natural and synthetic brushes are sold with the tuft shaped for different tasks. Among the most popular are:

 

Rounds. The tuft has a round cross section but a tapering profile, widest near the ferrule (the "belly") and tapered at the tip (the "point"). These are general purpose brushes that can address almost any task.

Flats. The tuft is compressed laterally by the ferrule into a flat wedge; the tuft appears square when viewed from the side and has a perfectly straight edge. "Brights" are flats in which the tuft is as long as it is wide; "one stroke" brushes are longer than their width. "Sky brushes" or "wash brushes" look like miniature housepainting brushes; the tuft is usually 3 cm to 7 cm wide and is used to paint large areas.

Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.

Filbert (or "Cat's Tongue", hair only). A hybrid brush: a flat that comes to a point, like a round, useful for specially shaped brush strokes.

Rigger (hair only). An extremely long, thin tuft, originally used to paint the rigging in nautical portraits.

Fan. A small flat in which the tuft is splayed into a fan shape; used for texturing or painting irregular, parallel hatching lines.

Acrylic. A flat brush with synthetic bristles, attached to a (usually clear) plastic handle with a beveled tip used for scoring or scraping.

 

A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes, and its brushmarks display the characteristic angle of the tuft corners.

 

Every watercolor painter works in specific genres and has a personal painting style and "tool discipline", and these largely determine his or her preference for brushes. Artists typically have a few favorites and do most work with just one or two brushes. Brushes are typically the most expensive component of the watercolorist's tools, and a minimal general purpose brush selection would include:

 

4 round (for detail and drybrush)

8 round

12 or 14 round (for large color areas or washes)

1/2" or 1" flat

12 mop (for washes and wicking)

1/2" acrylic (for dissolving or mixing paints, and scrubbing paints before lifting from the paper)

 

Major watercolor brush manufacturers include DaVinci, Escoda, Isabey, Raphael, Kolonok, Robert Simmons, Daler-Rowney, Arches, and Winsor & Newton. As with papers and paints, it is common for retailers to commission brushes under their own label from an established manufacturer. Among these are Cheap Joe's, Daniel Smith, Dick Blick and Utrecht.

Sizes

 

The size of a round brush is designated by a number, which may range from 0000 (for a very tiny round) to 0, then from 1 to 24 or higher. These numbers refer to the size of the brass brushmakers' mould used to shape and align the hairs of the tuft before it is tied off and trimmed, and as with shoe lasts, these sizes vary from one manufacturer to the next. In general a #12 round brush has a tuft about 2 to 2.5 cm long; tufts are generally fatter (wider) in brushes made in England than in brushes made on the Continent: a German or French #14 round is approximately the same size as an English #12. Flats may be designated either by a similar but separate numbering system, but more often are described by the width of the ferrule, measured in centimeters or inches.

Watercolor pencil

 

Watercolor pencil is another important tool in watercolors techniques. This water-soluble color pencil allows to draw fine details and to blend them with water. Noted artists who use watercolor pencils include illustrator Travis Charest.[4] A similar tool is the watercolor pastel, broader than watercolor pencil, and able to quickly cover a large surface.

Paper

 

Most watercolor painters before c.1800 had to use whatever paper was at hand: Thomas Gainsborough was delighted to buy some paper used to print a Bath tourist guide, and the young David Cox preferred a heavy paper used to wrap packages. James Whatman first offered a wove watercolor paper in 1788, and the first machinemade ("cartridge") papers from a steam powered mill in 1805.

 

All art papers can be described by eight attributes: furnish, color, weight, finish, sizing, dimensions, permanence and packaging. Watercolor painters typically paint on paper specifically formulated for watermedia applications. Fine watermedia papers are manufactured under the brand names Arches, Bockingford, Cartiera Magnani, Fabriano, Hahnemühle, Lanaquarelle, The Langton, The Langton Prestige, Millford, Saunders Waterford, Strathmore, Winsor & Newton and Zerkall; and there has been a recent remarkable resurgence in handmade papers, notably those by Twinrocker, Velke Losiny, Ruscombe Mill and St. Armand.

 

Watercolor paper is essentially Blotting paper marketed and sold as an art paper, and the two can be used interchangeably, as watercolor paper is more easily obtainable than blotter and can be used as a substitute for blotter. Lower end watercolor papers can resemble heavy paper more while higher end varieties are usually entirely cotton and more porous like blotter. Watercolor paper is traditionally torn and not cut.

Furnish

 

The traditional furnish or material content of watercolor papers is cellulose, a structural carbohydrate found in many plants. The most common sources of paper cellulose are cotton, linen, or alpha cellulose extracted from wood pulp. To make paper, the cellulose is wetted, mechanically macerated or pounded, chemically treated, rinsed and filtered to the consistency of thin oatmeal, then poured out into paper making moulds. In handmade papers, the pulp is hand poured ("cast") into individual paper moulds (a mesh screen stretched within a wood frame) and shaken by hand into an even layer. In industrial paper production, the pulp is formed by large papermaking machines that spread the paper over large cylinders—either heated metal cylinders that rotate at high speed (machinemade papers) or wire mesh cylinders that rotate at low speed (mouldmade papers). Both types of machine produce the paper in a continuous roll or web, which is then cut into individual sheets.

Weight

 

The basis weight of the paper is a measure of its density and thickness. It is described as the gram weight of one square meter of a single sheet of the paper, or grams per square meter (gsm). Most watercolor papers sold today are in the range between 280gsm to 640gsm. (The previous Imperial system, expressed as the weight in pounds of one ream or 500 sheets of the paper, regardless of its size, obsolete in some areas, is still used in the United States. The most common weights under this system are 300 lb (heaviest), 200 lb 140 lb, and 90 lb.) Heavier paper is sometimes preferred over lighter weight or thinner paper because it does not buckle and can hold up to scrubbing and extremely wet washes. Watercolor papers are typically almost a pure white, sometimes slightly yellow (called natural white), though many tinted or colored papers are available. An important diagnostic is the rattle of the paper, or the sound it makes when held aloft by one corner and shaken vigorously. Papers that are dense and made from heavily macerated pulp have a bright, metallic rattle, while papers that are spongy or made with lightly macerated pulp have a muffled, rubbery rattle.

Finish

 

All papers obtain a texture from the mold used to make them: a wove finish results from a uniform metal screen (like a window screen); a laid finish results from a screen made of narrowly spaced horizontal wires separated by widely spaced vertical wires. The finish is also affected by the methods used to wick and dry the paper after it is "couched" (removed) from the paper mold or is pulled off the papermaking cylinder.

 

Watercolor papers come in three basic finishes: hot pressed (HP), cold press (CP, or in the UK "Not", for "not hot pressed"), and rough (R). These vary greatly from manufacturer to manufacturer.

 

Rough papers are typically dried by hanging them like laundry ("loft drying") so that the sheets are not exposed to any pressure after they are couched; the wove finish has a pitted, uneven texture that is prized for its ability to accent the texture of watercolor pigments and brushstrokes.

Cold pressed papers are dried in large stacks, between absorbent felt blankets; this acts to flatten out about half of the texture found in the rough sheets. CP papers are valued for their versatility.

Hot pressed papers are cold pressed sheets that are passed through heated, compressing metal cylinders (called "calendering"), which flattens almost all the texture in the sheets. HP papers are valued because they are relatively nonabsorbent: pigments remain on the paper surface, brightening the color, and water is not absorbed, so it can produce a variety of water stains or marks as it dries.

 

These designations are only relative; the CP paper from one manufacturer may be rougher than the R paper from another manufacturer. Fabriano even offers a "soft press" (SP) sheet intermediate between CP and HP.

Sizing

 

Watercolor papers are traditionally sized, or treated with a substance to reduce the cellulose absorbency. Internal sizing is added to the paper pulp after rinsing and before it is cast in the paper mould; external or "tub" sizing is applied to the paper surface after the paper has dried. The traditional sizing has been gelatin, gum arabic or rosin, though modern synthetic substitutes (alkyl ketene dimers such as Aquapel) are now used instead. The highly absorbent papers that contain no sizing are designated waterleaf.

Dimensions

 

Most art papers are sold as single sheets of paper in standard sizes. Most common is the full sheet (22" x 30"), and half sheets (15" x 22") or quarter sheets (15" x 11") derived from it. Larger (and less standardized) sheets include the double elephant (within an inch or two of 30" x 40") and emperor (40" x 60"), which are the largest sheets commercially available. Papers are also manufactured in rolls, up to about 60" wide and 30 feet long. Finally, papers are also sold as watercolor "blocks"—a pad of 20 or so sheets of paper, cut to identical dimensions and glued on all four sides, which provides high dimensional stability and portability, though block papers tend to have subdued finishes. The painter simply works on the exposed sheet and, when finished, uses a knife to cut the adhesive around the four sides, separating the painting and revealing the fresh paper underneath.

Today we visited the Vitra Design Museum in Germany. I am so impressed with some tools and especially the fire station building by Zaha Hadid.

 

On Identity

Whether you're male, female, black, Hispanic, Native American, Asian, ethnic, or gay (and wherever you work), you are who you are, and that's what you are - and be damn proud of it.

Don't change your name, don't change your accent, don't change your heritage, don't denigrate a humble upbringing.

Be true to yourself and you'll ring true to the world.

(c) George Lois

Midtown Manhattan.

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The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image..

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HISTORY OF CONSTRUCTION.

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The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere." .

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In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field..

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Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. .

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In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor. .

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Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors. .

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By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production. .

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It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design..

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Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. .

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The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building. .

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Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. .

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Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building..

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The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932..

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The Chrysler Building and Art Deco.

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Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country..

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The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925..

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In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building. .

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In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco..

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Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result..

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Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme. .

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The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. .

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Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it..

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One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow. .

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Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls..

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On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design..

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Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh. .

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Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street. .

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For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces..

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The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces. .

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The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below..

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The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types. .

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All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco..

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The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters. .

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At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf..

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All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings..

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The Chrysler Building and the Image of Progress.

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When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:.

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The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions..

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The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home..

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As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future..

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The Chrysler Building is therefore dedicated as a sound contribution to business progress. .

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The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets. .

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The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. .

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In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years..

.

Conclusion.

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Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:.

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It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards. .

.

The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer. .

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The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country..

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- From the 1978 NYCLPC Landmark Designation Report

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.

 

Tacoma, WA

 

WP_20141031_17_47_42_Fused-1

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.

Steve Lorillere | Saint-Tropez Photo | Twitter | facebook

Steve Lorillere | Saint-Tropez Photo | Twitter | facebook

Tonle Sap, denigrated in the travel books and website forums as a mafia controlled rip off didn't quite live down to its reputation. It is a floating slum, but on the mouth of a river flowing into the largest lake in SE Asia. Illegal Vietnamese immigrants, some presumably under considerable duress, have established an almost permanent settlement. People live on crude houseboats, with schools, churches, stores and restaurants and even a basketball court and water purification plant also on pontoons.

  

"The Tonle Sap is a uniquely rich wetland-lacustrine ecosystem in Cambodia. With its 2,500 km2 of surface area, which extends fourfold during the floods it is Southeast Asia's largest lake. 1.1 million people dwell in its immediate surroundings with an average GRP of US$0.4 a day. It is thus the poorest part of Cambodia, which in turn is the region's poorest country.

 

"Why this affluence of nature coincides with one of the world's most striking traps of poverty and deprivation? Many reasons are in the recent, violent history that has pacified only in recent years. Tonle Sap region’s economy has declined to most basic subsistence farming and fishery. Poverty touches everybody. Destructive activities mushroom. Illegal logging is a dramatic example: the country loses 3% of its forests each year. Nature will not sustain the present informal economy and poverty-driven destructive practices for very long."

 

Source PDF: www.google.com.sg/url?sa=t&rct=j&q=&esrc=s&am...

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.wien-vienna.at/index.php?ID=484

Located at number 19 Camp Street in the former Gold Rush town of Daylesford, the former St Andrew’s Presbyterian Church offers wonderful views as it looks down from the high side of the road, across the township, now known for its natural mineral springs and day spas.

 

Built in 1903 under the benefaction of Jessie Leggatt, who laid the foundation stone on the 9th of December that year, St Andrew’s is not unlike the Castlemaine Presbyterian Church in Lyttleton Street. Built of red brick with sandstone detailing, St Andrew’s has been built in a Picturesque Gothic style with adaptations of both Florentine and Pauduan Gothic. It features a splendid slate roof, and has been built in a symmetrical style, with two hexagonal towers to either side of the enclosed loggia entrance. The taller of the towers on the left hand side serves also as the church’s belfry and has a crenellated parapet and a copper covered spire. The gable over the front doors is pierced with a traceried window with two mullions in early English decorated style. The small gables of the transepts are pierced with single mullioned windows of the same period. The interior is filled with magnificent original features including stained glass windows, ceiling roses, cathedral ceilings, lovely old floorboards and an extremely rare church organ.

 

In the intervening years since 1903, Daylesford has gone through many changes, going from a town populated by citizens seeking to make their fortunes in gold, to those come to seek rest and relaxation in this now resort town in central Victoria. With parish numbers dwindling, the Presbyterian Church has seen fit to close the doors of St Andrew’s, opting for a smaller and less formal presence in the town’s community centre. At the time of photographing, St Andrew’s is up for sale, and has had council approval for the construction of apartments and town houses in the rear of the property and the adaptation of the church itself into a single or multiple dwellings. With an asking price just short of one million dollars, to date there has been very little interest in the property, and so St Andrew’s falls slowly, but surely into decay as neglect sinks in. The grass grows high around its bluestone foundations; graffiti denigrates Jessie Leggatt’s memorial plaque in the entranceway; the painted archway above the gates rots, save for the faded letters that spell out St Andrew’s in weathered greyish white flecks, and the old weatherboard Sunday School sags into the briars. A large holly tree, planted when the church was first built still sits at the side, waiting, like the church, for a new lease of life like other former churches in the area.

 

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.

Copyright held by: Pickering And Inglis, 24-26 Bothwell Street, Glasgow, Lanarkshire G2 6PA

 

THE ANTICHRIST Unveiled

 

by Richard Bennett

 

Richard Bennett, a former Roman Catholic priest, is President and founder of Berean Beacon Ministries which proclaims the Good News of Salvation (the Gospel of Jesus Christ). A ministry of truth, love, and compassion to Roman Catholics, and plain Biblical truth to Evangelicals embracing a false ecumenism.

  

On October 8th, 2000, Pope John Paul II, under the assumed title of Vicar of Christ, consecrated the world and the new millennium to “Mary Most Holy.”

 

1 This blasphemous “Act of Entrustment to Mary Most Holy” of that which belongs to God alone is a mockery of the First Commandment.

 

The Pope’s official and offensive act ought to warn Christians that while the Pope formally claims to be “the true vicar of Christ,”

 

2 he in fact opposes Christ by false worship. What is equally serious is the title under which he performs.

 

The True Vicar of Christ is the Holy Spirit. He alone is sent to take the Lord’s place, testifying not to Himself but to Christ. (John 15:26)

 

The gravity of teaching and purporting to act in this divine role is that it denigrates the divine Person of the Holy Spirit. The Antichrist is also anti Holy Spirit.

 

With self-assurance, on September 5th 2000, the Church of Rome claimed, “the very fullness of grace and truth [of the Lord Jesus Christ is alone] entrusted to the Catholic Church.”

 

3 While aping His divine prerogatives, this was explicitly speaking against Christ, the only One who is full of grace and truth. The Scripture declares it necessary to believe on the Lord Jesus Christ alone, from Whom one receives “abundance of grace and of the gift of righteousness.”

 

4 Over and against Him is the present day decree of Rome, “The Church affirms that for believers the sacraments of the New Covenant are necessary for salvation. `Sacramental grace’ is the grace of the Holy Spirit, given by Christ and proper to each sacrament.”

 

5 What is not said here is that Rome’s physical sacraments, tightly gripped in the Pontiff’s hand and declared indispensable, are thereby substituted for the Lord of Glory and His Gospel.

 

Unwaveringly, in the present day, too, Church of Rome has upheld Unum Sanctum, “We declare, say, define, and proclaim to every human creature that they by necessity for salvation are entirely subject to the Roman Pontiff.”

 

6 Depending on these physical signs instead of direct faith on the Lord Christ Jesus is the deception of the papacy which subtly deflects faith from the person of Christ to signs that are claimed to be powers.

 

7 Moreover, there are many other events wherein the Pope has officially contradicted the Gospel, as on May 13th of this “Jubilee Year 2000.” There are also historical events wherein is revealed horrendous sin, as the now documented involvement of Pope Pius XII in Hitler’s reign of death.

 

8 These things ought to make Christians consider carefully if their eyes have seen in the Office of the Papacy the line of men that the Scripture calls the Man of Sin?for the Papacy gives the title of Vicar of Christ to its Pope.

 

One Lord, One Holy Father

 

The Church of Rome authoritatively teaches that her Sovereign Pontiff is rightly called “Most Holy,”

 

9 and “the most holy Roman Pontiff.” This, together with usual titles of “Holy Father”

 

10 and “Vicar of Christ” is the full sense of the definition of the Antichrist given by the Apostle John. “Who is a liar but he that denieth that Jesus is the Christ? He is antichrist, that denieth the Father and the Son.”

 

11 The Pope, in assuming these titles to himself, is against the Lord Jesus Christ and the Holy Father in heaven by purporting to possess these very offices. Such haughtiness also blatantly breaks the New Covenant Law of the Christ, “call no man your father upon the earth: for One is your Father, which is in heaven.”

 

12 Christ Jesus declared, “One is your Master, even Christ; and all ye are brethren”

 

13 The Pope declares himself “Most Holy,” “Holy Father,” and “the true vicar of Christ.” The Pope’s claim is similar to that recorded in Isaiah 14:

 

14, “I will be like the Host High.” The Scripture speaks of such a one denying the Father and the Son by assuming the titles of both. In the words of Scripture we proclaim, “Who shall not fear Thee, O Lord, and glorify Thy name? For Thou only art Holy: for all nations shall come and worship before Thee...” 14

 

The historical origins of the Antichrist

 

Throughout history, circumstances concerning the coming and character of Christ have corresponded so brilliantly to prophecy that in the past the Lord’s people praised His name for it. Likewise, the Lord’s flock thanked Him for clearly depicting the Antichrist.

 

The Lord Himself confirmed the understanding that there would be a specific fulfillment in the Antichrist’s role when He stated, “for the ruler of this world is coming.”

 

15 Similarly Christ Jesus said, “I have come in my Father’s name, and you do not receive me; if another comes in his own name, him you will receive.”

 

16 John the Beloved, following in the Master’s footsteps, states emphatically, “ye have heard that antichrist shall come...”

 

17 John confirms that while there were contemporary opponents of Christ (many antichrists), these forces of opposition would eventually center in one entity.

 

Contrary to flawed popular belief, the popes are not the successors to the Apostle Peter. They are, however, the successors to the Roman Emperor. History shows that the title of “Supreme High Priest” was officially bestowed on the bishop of the church at Rome by the Emperor Justinian in the sixth century

 

.18 Therefore, the office of “supreme high priest” of the Roman Catholic Church, perpetuated now for nearly 1,500 years, came from an apostate secular source, whereas the Bible proclaims one Supreme High Priest, the Lord Jesus Christ appointed by God. The pagan Emperor Justinian also bestowed on the bishop of the church at Rome the universal oversight of the entire Christian world. That was when the bishop of the church at Rome became known as the Pope, arising as Spiritual Head of the pagan Roman Empire. The authority of this historical fact alone ought to be seen as clearly designating the Antichrist.

 

The cloud of witnesses from Christian History

 

From the time of persecution of the Vaudois and the Waldenses, and throughout the long era of the Inquisition, the Lollards, the Bohemians, and the believers of the Reformation understood both the Office of Christ and also its counterfeit, the Antichrist. The zeal and courage of many of these martyrs were based on their conviction that they were withstanding the Antichrist. Today, however, it is “religiously correct” to declare one’s ignorance of the identity of the Antichrist. As the ecumenical movement gains momentum, it is imperative to regain a Biblical understanding of Scriptural prophecy, which has been and still is being played out in time, rather than simply relegating it to some future cataclysmic period.

 

Bible believers of old recognized the Roman Catholic institution as the Antichrist. This identification was known and spoken of even through the Middle Ages by, among others, Dante Alghieri, John Wycliff, John Huss, and Savonarola; during the Reformation, by Martin Luther, William Tyndale, John Calvin, Thomas Cranmer, Hugh Latimer, Nicholas Ridley, John Bradford, and John Foxe; in the 17th and 18th centuries, by John Bunyan, the translators of the King James Bible, and by the men who published the Westminster and Baptist Confessions of Faith; Sir Isaac Newton, Jonathan Edwards, George Whitefield, John Wesley; and in more recent times, by Charles Spurgeon, Bishop J. C. Ryle and Dr Martyn Lloyd-Jones. All these men and many more knew the precision of Scripture regarding both Christ and the Antichrist. The Written Word has been fulfilled in history, in both Light and darkness.

 

As a silk glove over the hand, so the events of history clothe the prophecy of the Scripture. Today, it is “religiously correct” to refrain from speaking about the Antichrist, except in some futuristic scenario that cannot be analyzed since has not yet occurred. This is an application of “the tolerance principal” of today that has all but blunted the edge of the accuracy and distinctness of the Biblical sword.

 

Such tolerance holds that the warnings of Christ and the Apostles John and Paul are not to be seen historically, but rather applied to some future political leader at the end of the last times. While much modern Biblical teaching assumes a future political leader to be the coming Antichrist, the Biblical Antichrist is first apostate, and then political only from his apostate seat of power. This perfectly describes every Roman Catholic Pope in his Pontifical office.

 

This paper deals particularly with II Thessalonians 2:3-12, one of the many texts that unveils the Antichrist and serves as an introduction to the other texts.

 

The Man of Sin Appears

 

The Apostle clearly states, “Let no man deceive you by any means: for that day shall not come, except there come a falling away first, and that man of sin be revealed, the son of perdition.” (v. 3) The Man of Sin would appear as the outworking of the “falling away,” or “apostasia” (“apostasy” in English). Clearly, there was to be a large-scale apostasy that would lead to the emergence of the Man of Sin.

 

Apostasy can only take place in the professing church of God, since there must be something from which to fall away. The embryo of the iniquity that would lead to this apostasy and the revealing of the Man of Sin was already at work in the Apostle’s day—thus he says, “For the mystery of iniquity doth already work.” (v. 7)

 

The Scriptures elsewhere speak of the “mystery of godliness”, “great is the mystery of godliness: God was manifest in the flesh....” (1 Timothy 3:16) By contrast, in verse 7 the exact opposite is spoken of, “the mystery of iniquity,” that is, the disclosure of the Man of Sin, the Son of Perdition.

 

The “mystery of iniquity” was soon to show itself visibly in the form of the Man of Sin. The outcome of this apostasy would be “all deceivableness of unrighteousness.”

 

Such apostasy was to be marked, not by open hostility, but by hypocrisy and deceit, which to the world appears righteous and holy. Apostasy by definition is duplicity and falseness, a withdrawal and defection from the Gospel and true godliness.

 

The “who” and the “what” that held back the Man of Sin (vv. 3, 6, & 7)

 

There was something withholding or hindering the appearance of Man of Sin, a constraint, keeping back his emergence. Notice this constraint is a thing, “what,” in verse 6 and a person, “he,” in verse 7.

 

The Apostle’s unusual reserve to spell out the identity of this constraint is to be noticed, although he clearly realized that the Thessalonians would understand when he said, “now ye know what withholdeth.” Of great importance is the historical background to the second letter to the Thessalonians which is outlined in Acts 17:1-10. There the events that took place when Paul was at Thessalonica previous to this letter are explained.

 

At that time, the Jews brought a political charge against Paul and Silas, “these all do contrary to the decrees of Caesar, saying that there is another king, one Jesus.” This was not a religious charge, but one against “Caesar,” that is, the Roman Empire. All of that had been clear to the Apostle and to the Thessalonians.

 

Had the Apostle written that the constraint was the Roman Empire, it would have appeared that he was supporting political revolt. The “what” of verse 6 and the “he” of verse 7 made it abundantly clear to the Thessalonians that he was speaking of the Roman Empire and its Emperor, respectively.

 

The Roman Empire and Emperor providentially impeded the appearance of the Man of Sin for a time.

 

To know the time, therefore, at which the Man of Sin will appear, the whole passage (from verse 1 through 12) must be taken in context.

 

The Man of Sin is set forth, appears at the removal of him “who is now holding back” (v.7). In the previous verse, Paul reminds the believers “now you know what holds him back.” What was it that the believers then knew? They knew that the Roman Empire kept all and everyone in check. In the Thessalonian mind, Rome, and only Rome, restrained. (That early believers like Tertullian and Jerome had such convictions is documented.)19 The course of history precisely fulfilled what was stated in Scripture.

 

First, the Emperor Constantine removed the seat of the empire to Constantinople. This removal gave all the opportunity that could be desired for the growth of the power-seeking Roman bishops. Internal corruption and external pressures destroyed the Empire. It was only after the break-up of the Roman Empire that the Papacy gained ascendancy over the civil powers, and the Man of Sin became more apparent.

 

When the Roman Papacy acquired the dominion that the Empire had had for centuries, which was rule in both the civil and religious spheres, then the Antichrist was seen and recognised by the Vaudois and others. In all history it is hard to find a series of events corresponding more accurately with a prophetic statement than this.

 

The place where the Man of Sin appears

 

The Apostle states unmistakably the place where the Man of Sin would become visible “Who opposeth and exalteth himself above all that is called God, or that is worshipped; so that he as God sitteth in the temple of God, showing himself that he is God” (v. 4) He would appear in the “temple of God.”

 

The word “temple” is constantly used by the Apostle to describe the people of God themselves. For example, “If any man defile the temple of God, him shall God destroy; for the temple of God is holy, which temple ye are.”20 This testifies that the Man of Sin would emanate from among the people of God as a result of the falling away, i.e. the apostasy, outlined in the preceding verse.

 

Presenting himself as God

 

The authority and truth of the Lord’s Written Word is of such importance that Scripture declares, “thou hast magnified thy word above all thy name.” (Ps 138:2) The Lord Jesus Christ said, “the Scripture cannot be broken,” speaking of the absolute character of God’s Written Word that He has magnified above His name. While many are unaware of it, the substance of II Thess. 2:4 is both the official claim and practice of the Papacy.

 

This is documented in primary Roman Catholic sources. Verse 4 in the Scripture teaches, “...he as God sitteth in the temple of God, shewing himself that he is God.” Consistently in Roman Catholic teaching and practice, the Pope is called “His Holiness.”

 

Such a title applies solely to God. God is the only Being whose very nature is holy.21 Concerning the Pope’s assumed title, “His Holiness,” the Roman Catholic Church claims the following divine attributes:

 

“The Supreme Pontiff, in virtue of his office, possesses infallible teaching authority when, as supreme pastor and teacher of all the faithful...he proclaims with a definitive act that a doctrine of faith or morals is to be held as such.”22

 

In the papal claim to “infallible teaching authority,” it is this very quality of God’s infallibility that is at stake. Thus Rome’s official claim exalts the Pope “above all that is called God.”23

 

Likewise, the earned righteousness of Christ Jesus after the Resurrection gave Him “All power... in heaven and in earth.” (Matt 28:18) The papal claim is officially expressed thus, “The Pope enjoys, by divine institution, ‘supreme, full, immediate, and universal power in the care of souls.’”24 In this assertion to a power given to the Lord Christ Jesus alone, the Pope again exalts himself “above all that is called God”.

 

How many extra marital affairs make it common sense to cry adultery?

 

How much official blasphemy is needed for the one who calls himself “His Holiness” to be identified correctly as the “Man of Sin?”

 

Extravagantly, apparently without trembling, the Roman Catholic Office of the Papacy in itself fulfills the Thessalonians text and the definition of “Antichrist.”

 

It is important to note that the Greek word for antichrist in the Bible means not simply against Christ, but more significantly, substituting for Him.

 

That the Papacy in a real sense has been living out this two-fold meaning of the Greek word, one who is against the Lord Jesus Christ by presuming to take His place, is seen in its attempt to usurp His power and position as Prophet, Priest, and King. Full and supreme power belongs solely to the God-man Christ Jesus, Who acts freely on each one in His church.

 

This is evidenced in Ephesians 1:22-23, “And hath put all things under his feet, and gave him to be the head over all things to the church, which is his body, the fullness of him that filleth all in all.”

 

The Roman Catholic Church purports to take for itself His Divine position, according to her official teaching, “For the Roman Pontiff, by reason of his office as Vicar of Christ, namely, and as pastor of the entire Church, has full, supreme and universal power over the whole Church, a power which he can always exercise unhindered.”

 

25 He is the worst and greatest enemy of Christ, who under the pretense of service to Christ presumes to undermine His unique offices by covertly usurping His position and power.

 

The wickedness within the Roman Catholic system has reached such horrendous proportions that it is difficult to keep up with the documented evidence.26 While conviction regarding the nature of this apostate church comes from God’s Word, present day evils show the mystery of iniquity at work.

 

Capitulation of mind and will

 

Rome’s law demands submission of mind and will to the one “shewing himself that he is God.”

 

The official law of the Roman Catholic Church, enunciates the necessity of submitting one’s highest faculties, that of mind and will, not to God Himself, but to the Roman Pontiff.

 

“A religious respect of intellect and will, even if not the assent of faith, is to be paid to the teaching which the Supreme Pontiff or the college of bishops enunciate on faith or morals when they exercise the authentic magisterium even if they do not intend to proclaim it with a definitive act; therefore the Christian faithful are to take care to avoid whatever is not in harmony with that teaching.”

 

27 Not only does Rome demand this, but also in Canon 1371 she decrees that the consequence for not obeying is punishment with a “just penalty”.

 

28 To presume to take the place of Christ Himself as Prophet, Priest, and King, and to presume to act as in His person is clearly tantamount to “sit[ting] as God in the temple of God, setting himself forth, that he is God.” Yet this is exactly the documented claim of Papal Rome. The teaching given in Rome’s Code of Canon Law puts teeth into its claim by exacting submission and promising punition for those who fail to obey.

 

The purpose and intent of Man of Sin

 

The Apostle Paul appears to use deliberately the terms that generally refer to Christ, “revealed,” “coming,” and “mystery,” to describe the performance of the Man of Sin.

 

This indicates that Satan’s design is to replace Christ with his own man. The stated objective is given in verse 4, “Who opposeth and exalteth himself above all that is called God, or that is worshipped; so that he as God sitteth in the temple of God, showing himself that he is God.” This, as has here been documented, is the claim and the law of Papal Rome.

 

Verse 9 depicts how the aim of Satan is to be carried out, “Even him, whose coming is after the working of Satan with all power and signs and lying wonders.” The Man of Sin was to come with all power and signs and lying wonders, “in all deceivableness of unrighteousness.”

 

29 Just as the Lord wrought miracles through the Apostles to confirm their position, so Satan would work with Antichrist, endorsing his alleged position with false miracles designed to overthrow the Gospel.

 

The Man of Sin is both an attempted personification of Christ and a contrast to Him. He attempts to occupy His position, but is totally unlike Him, and in opposition to Him. He has usurped His place and His prerogatives, and far from truly representing Him, he represents His greatest enemy.

 

As Christ acts for God, so the Man of Sin acts for Satan, who indeed uses him for this very purpose, so the text states that the Man of Sin’s coming is “after the working of Satan.”

 

The purpose and intent of the Man of Sin is given also in the second name, “son of perdition.” The reference is to Judas, who pretended to be a disciple of Christ even as he betrayed the Son of Man with a sign of love and loyalty.

 

The Son of Perdition is a secret enemy while a seeming friend, a well-known confidant, yet a fatal foe who betrays with a kiss even while he says he serves the Lord and master. He is a Judas whose coming was to be “after the working of Satan,” with “lying wonders.” Those under him are under the influence of “strong delusion.” For their own part, they had “not received the love of the truth,” but rather took “pleasure in unrighteousness.”

 

In a denial of the Gospel of Christ, on May 13th, 2000, the present Pope, John Paul II, endorsed the identity and origin of the vision of Mary of Fatima—a “lying wonder.” He proclaimed,

 

“According to the divine plan, `a woman clothed with the sun’ (Rev. 12:1) came down from heaven to this earth to visit the privileged children....

 

She asks them to offer themselves as victims of reparation, saying that she was ready to lead them safely to God. And behold, they see a light shining from her maternal hands which penetrates them inwardly, so that they feel immersed in God...”30

 

The final end of the Man of Sin

 

“And then shall that Wicked be revealed, whom the Lord shall consume with the spirit of his mouth, and shall destroy with the brightness of his coming.” (v 8) Verse 8 tells of the end of the Wicked one. He, who would be revealed when the power of imperial Rome was removed, will continue until the breath of Christ’s mouth and the brightness of His coming destroy him. This is a clear reference to the Second Coming.

 

The Lord in this verse has foretold the destruction of the Man of Sin’s reign: the Word of the Lord will reduce it to nothing. He will be completely and in every respect destroyed on the final day.

 

In the meantime, the victory of the Gospel is also seen in this verse. The Apostle was repeating the truth of the Lord spoken of in Isaiah 11:4, “But with righteousness shall he judge the poor, and reprove with equity for the meek of the earth: and he shall smite the earth with the rod of his mouth and with the breath of his lips shall he slay the wicked.”

 

The Lord’s power has always been greatest in the day of utmost need, when He comes to the aid of those destitute and poor in spirit. The character of God in His gracious Gospel is “the spirit of his mouth.” All through history this verse has been understood and lived out in this sense.

 

The Gospel is “the power of God unto salvation to every one that believeth.”31 Repeatedly throughout history the “Gospel of grace” has conquered the Man of Sin. The Vaudois, the Waldenses, the men of the Reformation, and all genuine revivals have seen the Lord smite with the rod of His mouth and with the breath of His lips.

 

His power is seen when His graciousness is boldly proclaimed, every individual who is saved “being justified freely by his grace through the redemption that is in Christ Jesus.”32

 

Conclusion

 

None but God could have delineated beforehand the “mystery of iniquity,” which is clearly the Office of the Papacy of the Roman Catholic Church. Man could never have anticipated all this; only God foretells it. That a power claiming to act for God, to be “as God”, in the midst of the Christian Church, flouting His truth and mocking His own Holiness, defies imagination.

 

Corruption, fraud, and false pretenses have ruled the world for ages from the very same seven-hilled city where the pagan Roman Empire once ruled by military force, and they are such that were they not clearly described by the Lord’s Word, and seen in past and recent history, they could never have been expected by man. The prophetic portrayal of the wickedness of the system built around the Antichrist is a demonstration of the divine inspiration of the Bible and the power and authority of our Lord God.

 

To reject the clear testimony of God’s Written Word on the fundamental office of the Antichrist, and to prefer a doctrine that can neither be verified by the text itself nor tested in time is a serious matter.

 

It obscures the wisdom of Divine prophecy and denies the true character of the days in which we live. While futurism asserts the nearness of the Second Advent of Christ, it destroys the historical timeframe of His opposer, the Antichrist, which is essential to correctly understanding this fulfillment of prophecy.

 

The historic playing-out of those predictions concerning the apostasy is an essential element of what the Lord foretold in His Word.

 

Just as the Lord explained regarding Himself, “all things must be fulfilled, which were written in the law of Moses, and in the prophets, and in the psalms, concerning me.”

 

Likewise, the substance of what was written concerning the office of the one who opposes Him has been fulfilled. With the Vaudois, the Waldenses, Lollards, and the Bohemians, through the Inquisition and the Reformation, the truth of the Gospel and the Prophetic Word lifted nations from the depths of superstition and despotism to Biblical freedom and economic growth.33

 

Much futurist teaching has been the work of sincere and dedicated men of God; nonetheless, by failing to expose the presence of Antichrist in our midst, the nations are being lured effectively into slavery once again. In the face of such failure, it is imperative to know as believers of old knew the presence of the True Seed, Christ Jesus, with them in spirit and in truth.

 

The historic interpretation has been embodied in the most solemn confessions of the Biblical world.34 It forms a leading part in the testimony of martyrs and reformers. Like the prophets of old, these holy men bore a twofold testimony, a testimony for the truth of God, and a testimony against the Apostasy of those professing to be Christian.

 

Their testimony was that Papal Rome is the Babylon of prophecy, “that great city, which reigneth over the kings of the earth,”35 and that its head, the Roman pontiff, is the predicted “Man of Sin,” or Antichrist.

 

Notes

 

“The culminating moment of the Jubilee of Bishops was the Mass concelebrated by the Pope and Bishops in St Peter’s Square on Sunday morning, 8 October.

 

Tens of thousands of the faithful gathered for the sacred liturgy, which concluded with the Act of Entrustment to Mary Most Holy.” L’Osservatore Romano Weekly edition in English 11 October 2000.htm

Henry Denzinger, “Unam Sanctum”, Nov. 18, 1302, The Source of Catholic Dogma, Tr. By Roy J. Deferrari, 30th ed. of Enchiridion Symbolorum, rev. by Karl Rahner, S. J. (St. Louis, MO: B. Herder Book Co., 1957) #694. See also Catechism of the Catholic Church (San Francisco: Ignatius Press, 1994) #882 & #936.

Dominus Iesus, Section 16 www.vatican.va/roman_curia/congregations/ cfaith/documents/rc_con_cfaith_doc_20000806_dominus-iesus_en.html

Romans 5:17.

Catechism, #1129. Bolding in any quotation indicates emphasis added in this paper.

Denzinger, #469.

Catechism, #1116 states, “Sacraments are ‘powers that come forth’ from the Body of Christ [i.e., The Roman Catholic Church] which is ever living and life-giving....”

John Cornwell, Hitler’s Pope: The Secret History of Pius XII (New York, NY 10014: Viking, 1999).

Denzinger, #649.

The Catholic Encyclopedia, Robert Broderick, ed. (Nashville, TN: Thos. Nelson Inc., 1976) p. 217.

1 John 2:22.

Matthew 23:9.

Matthew 23:8.

Revelation 15: 4.

John 14:30.

John 5:43.

I John 2:18. The Greek text says that the antichrist shall come.

LeRoy Edwin Froom, The Prophetic Faith of Our Fathers, 4 vols. (Washington DC: Review and Herald Publishing Assn., 1978) Vol I, pp. 511-517.

Froom, Vol. I, pp. 257-258, pp. 443-444.

I Corinthians 3:17; cf Ephesians 2:21, II Corinthians 6:16.

Revelation 15: 4 , 1 Samuel 2:2.

Code of Canon Law, Latin-Eng. ed. (Washington, DC: Canon Law Society of America, 1983) Can. 749, Sect. 1. All canons are taken from this source unless otherwise stated.

The Greek word for “above” can mean “in a place of” or “as much as”. It seems to be this meaning that applies the text rather than superior to God, cf. Strong’s Hebrew-Greek Dictionary, # 1909.

Catechism, # 937.

Catechism, #882.

www.iconbusters.com/iconbusters/lechery/current-lechery1.htm That source links also to Roman Catholic sources that further show the mystery of iniquity at work.

Canon 752.

Canon 1371, Para. 1 “The following are to be punished with a just penalty: 1 a person who, apart from the case mentioned in canon 1364, 1, teaches a doctrine condemned by the Roman Pontiff, or by an Ecumenical Council, or obstinately rejects the teachings mentioned in canon 750, [Para.] 2 or in canon 752 and, when warned by the Apostolic See or by the Ordinary, does not retract;”

See Quite Contrary: A Biblical Reconsideration of the Apparitions of Mary by Timothy F. Kauffman (Huntsville, AL 35804: White Horse Publications, 1993). See also Graven Bread: The Papacy, the Apparitions of Mary, and the Worship of the Bread of the Altar by same author.

www.vatican.va/holy_father/john_p.../hf_jp-ii_hom_2000051... 6/1/00. See on our web page our critique of the same in Fatima: JP II, RCC Contradict Gospel: Where Do Evangelical ECT Signatories Now Stand?

Romans 1:16.

Romans 3:24.

John W. Robbins, Ecclesiastical Megalomania: The Economic and Political Thought of the Roman Catholic Church, (ISBN 0-940931-52-4; USA: The Trinity Foundation, 1999) pp. 13-24.

See The Westminster Confession of Faith, 1646; The Baptist Confession of Faith, 1689; The Philadelphia Confession of Faith, Adopted by The Baptist Association, 1742; and others.

Revelation 17:18

 

www.biblebelievers.com/bennett/bennett_antichrist-unveil....

RYERSON, EGERTON (his complete given name was Adolphus Egerton but he never used the first), Methodist minister, author, editor, and educational administrator; b. 24 March 1803 in Charlotteville Township, Norfolk County, Upper Canada, fifth son of Joseph Ryerson and Mehetable Stickney; m. first 10 Sept. 1828 Hannah Aikman (d. 1832) at Hamilton, Upper Canada, and they had two children; m. secondly 8 Nov. 1833 Mary Armstrong at York (Toronto), Upper Canada, and they had two children; d. 19 Feb. 1882 at Toronto.

 

Two circumstances in Egerton Ryerson’s early life exercised a lasting influence on his career. One was the loyalist environment in which he grew up. His father, Joseph, and his uncle Samuel Ryerse*, both American born, had served as loyalist officers in the American revolution and afterwards had fled north to New Brunswick before moving to Upper Canada in the 1790s. As a half-pay officer Joseph had received a substantial land grant and established his family on a farm near Vittoria, the first capital of the London District. Appointed to a series of important local offices, both Joseph and Samuel became part of the loyalist establishment in the district while members of their families married into other leading loyalist clans in the area. Joseph and his three eldest sons all served against the Americans in the War of 1812. Egerton, too young to be actively involved, saw a brother badly wounded and the destruction of lands and property belonging to friends and relatives. Among the Ryerson family, memories of pioneering a new land and defending it, of principles sustained and loyalty reaffirmed, would breed a deep and abiding attachment to both their native land and the maintenance of the British connection in North America.

 

The second great formative influence was evangelical Christianity. Like so many of his generation Ryerson was touched early in life by the wave of Protestant revivalism that swept North America in the late 18th and early 19th centuries. The Ryerson children were raised by a devout mother of Methodist sympathies who taught them a personal and vital form of Christian belief and her precepts were reinforced by the Methodist circuit-riders who criss-crossed Norfolk County during Egerton’s childhood. Some time immediately after the War of 1812, according to his own account, Egerton, like three of his elder brothers, “became deeply religious. . . . My consciousness of guilt and sinfulness was humbling, oppressive and distressing; and my experience of relief, after lengthened fastings, watching and prayers, was clear, refreshing and joyous. In the end I simply trusted in Christ, and looked to Him for a present salvation. . . .” In 1816 his mother and two of his older brothers joined the Methodist Church. His Anglican father was “extremely opposed” to the Methodists and when at 18 Egerton applied for membership in the local Methodist society he was told “you must either leave them or leave my house.” Egerton took the latter course. The rift lasted for two years and was repaired only when the father acquiesced in his son’s convictions. The episode reveals something of the determination and impetuosity characteristic of Ryerson all his life. It also reveals the depth of his “conversion” experience. From the time he was a young man Ryerson’s personal odyssey was defined by his determination “never to rest contented until he [Christ] becomes not only my wisdom, but my sanctification and my full redemption.” Loyalism and Methodism would form the warp and woof of Ryerson’s life and thought throughout his long career.

 

Ryerson’s family was sufficiently well off to enable him to take advantage of the limited educational facilities available at the time. Most of his schooling took place under James Mitchell at the London District Grammar School in Vittoria. Between 1821 and 1823 he served as an assistant to his brother George, who was master in the school. During these years Ryerson absorbed the essentials of an English and classical education and was also introduced to two works that would become lasting influences – William Paley’s Principles of moral and political philosophy and Sir William Blackstone’s Commentaries. In August 1824, perhaps with the intention of becoming a lawyer, Ryerson went to Hamilton to study with John Law at the Gore District Grammar School.

 

After only a few months’ study in Hamilton, Ryerson’s formal education was ended by a prolonged illness in the winter of 1824–25. During his recovery he became convinced that he had been preserved from death to serve God’s purpose as a Methodist minister. He irrevocably accepted God’s call on 24 March 1825, his 22nd birthday, and preached his first sermon at Beamsville on Easter Sunday of that year. Thus Egerton became one of five Ryerson boys to enter the Methodist ministry: he followed in the footsteps of William* and John* as George, the eldest, and Edway (Edwy) Marcus, the youngest, would follow in his. Formally received on trial in September 1825 by the Canada Conference, the governing body of the Methodist Episcopal Church in Upper Canada, Egerton served his apprenticeship on the York and Yonge Street circuit and then as a missionary among the Indians at the Credit River. In September 1827 he was admitted to full connection and ordained. He spent the next two years assigned to the Cobourg and Ancaster circuits.

 

During these years the rigorous routine of a travelling preacher’s life was interrupted by two diversions that would put Ryerson’s name before a much wider audience than any Methodist circuit could offer. In 1826 a sermon, delivered the previous summer at the funeral of Bishop Jacob Mountain* by John Strachan*, appeared in print; in it Strachan, the leading Church of England clergyman in Upper Canada, traced the rise of the Anglican church in the colony, contending that it was the established church and attacking the Methodists as ignorant American enthusiasts, unsound in religion and disloyal in politics. None of the arguments were new, but on this occasion the Methodists in York chose not to remain silent and Ryerson, still a probationary preacher, was one of those invited to frame a reply. In a long letter printed in the Colonial Advocate (York) in May 1826 he challenged all of Strachan’s assertions. No less than Strachan himself, Ryerson sought a society that was both Christian and British. But he denied that an established church was either scriptural or an essential part of the British constitution, and quoted authors ancient and modern to support his case. He rejected the charges of ignorance by citing the intellectual training required of all Methodist preachers and also challenged the contention that most of them were Americans. Ryerson’s letter and the ensuing debate in the provincial press “thrilled the Methodist mind in the country,” in the words of John Saltkill Carroll, and called attention to Ryerson’s remarkable abilities as a spokesman for the Methodist cause. In 1827 Strachan again put forward his claims in a series of letters written in England to garner support for both the Church of England and the colony’s newly chartered university. In the public uproar that followed, Ryerson was only one critic among many, but in eight clearly reasoned and broad-ranging letters, published first in the Upper Canada Herald (Kingston) in June 1828 and later that year as a pamphlet, he again defended the character of Methodism, argued the case for religious equality, and broadened his attack to include the educational policies of what he claimed to be an Anglican-dominated executive.

 

His forays against Strachan brought Ryerson to the centre of Methodist affairs. In 1829 he was elected by conference as the first editor of the new Methodist newspaper, the Christian Guardian. Over the next decade he would be its dominant editorial voice, responsible for the paper from the first issue in November 1829 until August 1832, from October 1833 until June 1835, and again from June 1838 until June 1840. A large Methodist constituency and Ryerson’s own editorial talents made the Guardian one of the most widely read and politically influential papers in the colony. From the beginning it reflected not only the temporal but also the spiritual concerns of Ryerson’s own life. One subsidiary object of the paper, he wrote in 1830, was “to support and vindicate religious and civil rights”; but the paper’s principal purpose was to promote “practical Christianity – to teach men how to live and how to die.” Serving also as book steward for 1829–32 and 1833–35, Ryerson established a book room and helped lay the foundations of a flourishing publishing establishment which eventually became the Ryerson Press.

 

During the early 1830s Ryerson was involved in another important aspect of the institutional development of his church. In 1832, at the invitation of the colonial administration, the politically conservative British Wesleyans decided to expand their own work into Upper Canada. Colonial Methodists were divided over the appropriate response. Although some objected to any cooperation at all, the majority of conference, led by John Ryerson, voted to support a union between the two churches in order to avoid wasteful duplication and open conflict and to disprove the continuing charges of American sympathies. Egerton vigorously supported this policy in the Guardian and within conference, and was selected to go to England to complete the negotiations with the English conference as well as to lay a variety of Methodist interests before the Colonial Office. He returned to Upper Canada in September 1833. Just 30 years of age, fresh from his first trip abroad and the successful representation of his church in Britain, and re-elected editor of the Guardian, Ryerson had begun to establish himself, in Carroll’s words, as the Methodists’ “leader in all public questions.”

 

The style and character of the man had also begun to take permanent shape. Summarizing contemporary opinion, Charles Bruce Sissons* concludes that Ryerson was a competent rather than an outstanding preacher. The basis for his public reputation would lie in the written rather than the spoken word. At his best Ryerson could write prose laced with vigorous rhetoric, flashes of wit, and powerful imagery. He could also, particularly as he grew older, be long-winded and pontifical, his prose weighted down by endless quotations and irrelevant appeals to the history of any subject from time immemorial. His style was shaped by the Methodist homiletics of the day and encompassed the best and the worst of the genre.

 

To his many friends and admirers Ryerson was a generous, warm, kind, inspiring man, “trusting and trustworthy,” endowed with “grand qualities of mind and heart.” Others, particularly those who ran afoul of him in controversy, did not share this opinion. In his younger days Ryerson was generally careful to distinguish between the personalities and the arguments of his opponents. As editor of the Guardian he did not routinely indulge in the character assassination and innuendo typical of contemporary colonial journalism. Yet he was also acutely sensitive to slights or imputations about his own character and principles, and when provoked could descend into excesses of personal abuse unbecoming in a clergyman and public figure. These tendencies increased as he grew older so that even a sympathetic contemporary observer was led to remark that “both in writing and in debate he is not very choice of the means by which he abolishes an opponent, so long as it is done.” His was not a singular failing in mid-19th-century Canada and in many instances Ryerson had a strong claim to just cause. None the less he himself recognized it as a flaw. “I have,” he told his daughter, Mrs Sophia Howard Harris, in 1870, “written and printed many things that I afterwards very much regretted. For many years I have been accustomed to keep for a day or a week what I have written, before committing it to press.”

 

When he believed it to be necessary Ryerson could rethink his positions and make tactical compromises but his reluctance to admit such shifts publicly left him open to recurring charges of disingenuousness and hypocrisy. Such assessments were also encouraged by a strain of self-righteousness in his personality. Though his diaries and private letters often reveal him struggling with self-doubt, his public demeanour bespoke great assurance that his designs and God’s were one. Thomas Dalton* was one of the first of Ryerson’s contemporaries who captured this trait when he wrote in 1834 that Ryerson “pretends to be Heaven’s Lord Chancellor, and consequently the depository of all the secrets of that high court.”

 

Throughout his life Ryerson was a relentless worker. He could call up enormous reserves of energy, endurance, and discipline – products of his early labours on his father’s farm, the physical rigours of a circuit-rider’s life, and above all, the conviction that he must be a worthy steward of the time God gave him. He was also a constant student. He was forever learning a new language: Ojibwa at the Credit River mission, Hebrew in his spare time in the early 1840s, French and German on his trips to the Continent. The core of his religious and social thought had been shaped by rigorous study of the scriptures and the great Methodist divines: Wesley himself, Adam Clarke, and Richard Watson. He was also an avid reader of the classics of British and European history and political thought, and the “serious” contemporary literature such as the great English quarterlies. On any subject he chose he could command a remarkable variety of sources and quotations. His persistent interest in secular knowledge and in contemporary cultural and political affairs tempered the asperities of a faith that in other men could breed a disdain for temporal things or even an outright anti-intellectualism. On the other hand his secular interests, reinforced and justified by his religious convictions, also drew him into the political conflicts that haunted the colony in the 1830s and 1840s to a degree that, amongst Upper Canadian clergymen, was matched only by his great antagonist, John Strachan.

 

As pamphleteer and editor between 1826 and 1832 Ryerson had gradually become associated in the public mind with those who identified themselves as political Reformers. It was a natural alliance at the time, for many of the issues that galvanized Reformers were also those of most concern to Methodist leaders: the disposition of the clergy reserves, the right to solemnize marriages, the control of many of the educational institutions by the Church of England, and a number of similar issues affecting denominational equality Ryerson’s spirited editorial attacks on Anglican ascendancy, his leading role in organizing and drafting the petition of the Friends of Religious Liberty in December 1830 [see Jesse Ketchum*], and his denunciation in 1831 of the attack by Sir John Colborne* on the Methodists for political meddling, all seemed to identify him not just as a leading Methodist but as a leading Reformer as well. Thus it was not surprising that in 1832 a Tory mob in Peterborough, looking for symbols of reform on which to vent their anger, set fire to effigies of both William Lyon Mackenzie* and Ryerson.

 

When Ryerson returned from England in the autumn of 1833, however, he struck an unexpected theme. In the first of a series of “Impressions of England,” published in the Guardian, he attacked as infidel, republican, and anti-Methodist, radical leaders such as Joseph Hume and John Arthur Roebuck* who were close allies of Canadian Reformers. At the same time he praised the English “moderate Tories” among whom were to be found “a considerable portion of the evangelical clergy and, we think, a majority of Wesleyan Methodists.” Their political prudence, “genuine liberality and religious beneficence,” he concluded, “claim respect and imitation.” The “Impressions” caused a political uproar. To friends and enemies alike Ryerson appeared to reverse direction and commit himself to Toryism. The Reform press had a field-day at his expense, condemning him as an apostate and traitor, and many of his Methodist brethren concurred. To Ryerson himself, however, the change was one of emphasis, not principle. His passionate recitals of the grievances of Upper Canada had in fact masked an intellectual temper that was profoundly loyalist and conservative.

 

Two central convictions, shaped by his early life and by his reading of Blackstone, Paley, Wesley, Clarke, and Watson, formed the core of his political thought. First, he revered the body of constitutional theory and practice developed in Britain since 1688 and inherited, he believed, by Upper Canadians through the Constitutional Act of 1791. To Ryerson, civil institutions were among the means established by God to enable man to seek sanctification in this life and everlasting happiness with God in the next. No system of government designed by man was better suited to serve these purposes than the British constitution. By providing institutional bulwarks against arbitrary rule, it protected the civil and religious liberties of the subject and, through petitions to parliament and appeals to the crown, it furnished the means of seeking redress of grievances. Because of its mixed nature – its incorporation of king, lords, and commons (in the colony, governor, council, and assembly) – it provided the mechanism to balance and reconcile the different interests of society and thereby secure good government for the whole community. Wise policy, Ryerson would repeatedly say, not only arose from but also ensured “both the prerogatives and due influence of the Crown, and the constitutional rights of the people.”

 

The second fundamental principle that shaped his political thought was the importance of the imperial tie. Given his warm attachment to British institutions, all proposals for outright independence were anathema. At the same time he believed that the imperial authority and its local representatives must be responsive to local interests and circumstances. Thus Ryerson, like so many others of his generation, had to come to grips with a proposition that, on the face of it, seemed absurd: Upper Canada could be both self-governing and a colony. If some believed that sentiment alone could keep separatist tendencies in check, many others, Ryerson included, did not. To him, the “responsible government” of Robert Baldwin* was but a first step to independence. Its logic was to destroy the mixed constitution by eliminating the independent prerogative of the crown, the most palpable link between colony and parent state. So long as the imperial government was broadly responsive to public opinion, preserved the right of appeal for redress, and followed existing constitutional usages in dealing with the colony, Ryerson would oppose any innovations that threatened to weaken the imperial tie or modify the constitution inherited by the colony.

 

From the late 1820s until the mid 1840s Ryerson would attempt to govern his political course in accordance with these two principles. It was not an easy task. It would lead him from one side of the political spectrum to the other and back again, and leave him open to charges of political opportunism that, in the eyes of many Upper Canadians though not in his own, were difficult to refute.

 

By late 1833, when he published “Impressions,” Ryerson had become convinced that the main enemy was the Reform movement, not the administration. He did not dispute the fact that Upper Canadians still had justifiable complaints but, he argued, appeals to the crown and the imperial parliament were bringing redress. In particular, the royal dispatches of 1832 and 1833 had led Lieutenant Governor Colborne to modify many of the partisan policies of the previous decade. To Ryerson, in other words, the cause of Reform had been largely won. Of course Methodists had changed their tune, he would reply to his critics in 1835, “and for a simple and sufficient reason, the administration of government towards them has been essentially changed.” The Reformers, on the other hand, were seeking no longer to remedy real grievances but to introduce organic changes in the constitution. Thus, with the same energy he had exerted on behalf of Reform in the early 1830s, by mid decade Ryerson had thrown himself into the defence of existing authority.

 

Ryerson was absent from Upper Canada from November 1835 to June 1837, having been sent by conference to England as part of an attempt to put the affairs of the Methodists’ new academy at Cobourg in order. Begun with the greatest optimism in the early 1830s, Upper Canada Academy was in the most desperate financial straits by mid decade. It was Ryerson’s job to obtain a royal charter for it and, more importantly, to travel throughout Britain soliciting money for its support. Both tasks proved difficult but the latter was the more painful: to be a stranger and to have to beg, he confided to his diary, was “the most disagreeable of all employments.” He obtained the charter, none the less, and promises of financial support from British Wesleyans and the imperial government. Though away from home during these months, he continued to be a force in Upper Canadian politics, writing lengthy letters to the Christian Guardian and to English newspapers criticizing the Reformers and defending the policies of Lieutenant Governor Sir Francis Bond Head*.

 

Ryerson ended 1837 with a blistering sermon condemning those who had participated in the rebellion. He himself, however, was already beginning to have second thoughts about Head’s administration. It was one thing to defend the existing constitution against “republican” or “democratic” radicalism but quite another to tolerate arbitrary rule. Despite the clearly expressed will of the crown and the assembly, the Legislative Council had refused to approve a loan to Upper Canada Academy in 1837 – a scandalous departure, Ryerson argued, from constitutional precedent. A Tory legislature appeared to be attempting once more to place the clergy reserves in Anglican hands. In the wake of the rebellion civil liberties were being trampled upon and early in 1838 the case of Marshall Spring Bidwell*, who had been forced into exile at the whim of the lieutenant governor, roused Ryerson to issue a ringing public denunciation of the authorities and a defence of the constitutional rights of the subject. In Ryerson’s view Head’s successor, Sir George Arthur*, brought no improvement; indeed Arthur seemed determined to sustain all of the most objectionable pretensions of traditional colonial Toryism. From June 1838, when Ryerson returned as editor of the Guardian, his energies were again directed towards attacking the policies of the local executive and its supporters inside and outside the legislature. Once more he had entered the camp of the anti-government alliance.

 

It was in these circumstances that Ryerson was temporarily converted to the constitutional proposals of Lord Durham [Lambton*]. To those who recalled with some glee his earlier opposition to colonial cabinet responsibility he replied in June 1839 that “the history of the last three years” had proved that no other means existed to ensure a just and equitable local administration. By the end of 1840, however, Ryerson had returned to more familiar ground. In Lord Sydenham [Thomson*], who was determined to form a broad party of moderate opinion, to treat all denominations equally, and to be responsive to public opinion while at the same time preserving the prerogatives of the crown, Ryerson believed he had found the patriot governor who could implement “truly liberal conservative policy” and thus sustain the mixed constitution in the colonial setting. When Sydenham died in 1841 Ryerson wrote an obituary that heaped encomium upon encomium. At its heart was an expression of his own most fervent wish for the province: “his Lordship has solved the difficult problem, that a people may be colonists and yet be free.”

 

In June 1840 Ryerson ended his last stint as editor of the Guardian and was assigned to a pastorate in Toronto. He remained, however, a central figure in Methodist affairs. A number of issues had begun to divide Canadian and British Wesleyans in the late 1830s, raising doubts about the value of the union into which they had entered in 1833. One of these was the editorial policy of the Guardian, which members of the British conference felt Ryerson had made into “a political and party organ” of colonial radicalism. Though Ryerson was sustained by large majorities at conference, clashes over this and other matters of policy led to the dissolution of the union in 1840. Egerton and his brother William were appointed delegates to the British conference and spent the summer of 1840 in England negotiating the details of separation. In the following year Egerton was selected as the first principal of Victoria College, the successor to Upper Canada Academy, though he was not formally inducted into the post until June 1842. He remained principal until 1847 but his active role in the college was short-lived. In 1844 he took up a new post as a government administrator and, at the same time, became involved in one of the most celebrated political conflicts in Upper Canadian history.

 

In November 1843, because of a dispute over control of patronage, Governor Sir Charles Theophilus Metcalfe*’s Reform ministers had resigned from office. In the next few months Metcalfe and his new chief minister in Canada West, William Henry Draper*, began to search for a base of support in the leading moderates of both parties and all denominations. Among those consulted for general advice was Ryerson and, most probably in January 1844, consultation turned into a more positive offer of a place in the administration.

 

It is not difficult to see why Metcalfe wanted Ryerson. An appointment for Ryerson would disprove charges that he was too partial to Anglicans and high Tories and would favourably influence the large Methodist vote. Ryerson was on close terms with other political moderates and his accession might bring their support as well. A place on the council itself was, however, out of the question. Ryerson did not want an unequivocally political appointment and Draper discovered that it was not possible in any case. Thus Ryerson was offered the post of superintendent of schools for Canada West, which was not formally political; his acceptance would, however, signify his support for the ministry.

 

Why Ryerson himself was tempted by the offer is another question. Certainly he believed that at stake was a major constitutional issue upon which men must declare themselves. Moreover, he had always thought that an effective system of national education was one of the highest goals of practical, liberal policy and he was no doubt deeply attracted by the chance to play a role in promoting its development. But there may have been other reasons as well. On two previous occasions in the early 1840s he had expressed an interest in becoming involved in primarily secular projects and it may have been that Ryerson was somewhat restless in these years and eager to test his talents in a wider sphere than that afforded by Upper Canadian Methodism alone.

 

He may also have been tempted by the new political atmosphere of the years after 1840. The many leading politicians of the decade with whom he was on close personal terms accorded him a degree of respect he had not received from an earlier generation of Upper Canadian notables. Moreover, whatever their differences on particular issues, Ryerson’s vision of the future development of Canadian society had much in common with that of such men as Draper and Francis Hincks. They were ready to recognize the legitimate interests of Methodists and other dissenters within the body politic, they were men of the centre who rejected the extremes of either radicalism or Toryism, and their concern for economic development and the modernization of public services and institutions was as great as their commitment to the preservation of a distinct British-American society. In other words, Ryerson may have been attracted to the job because he believed that politics and policy were moving in more congenial and promising directions than in the conflict-ridden decade of the 1830s. In any case and for whatever reasons, Ryerson accepted Metcalfe’s offer in early 1844, though his appointment was not formally announced until September.

 

Apparently Metcalfe and Draper had asked only that Ryerson agree to serve as superintendent of common schools. It seems to have been Ryerson himself who proposed that he also step into the public arena in defence of the governor. He did so in part because he thought that his appointment was at risk unless the ministry was sustained by the electorate. But his behaviour was also fully in character. For Ryerson it was never enough to stand up and be counted; he had to smite the enemy hip and thigh as well. Thus he set about writing Sir Charles Metcalfe defended against the attacks of his late counsellors, published first as a series of letters in the British Colonist (Toronto) in the late spring and early summer of 1844 and later that year as a pamphlet of some 165 pages.

 

Though the letters ranged widely over British and colonial constitutional and political history and included a variety of arguments favourable to Metcalfe’s position, Ryerson focused on the patronage question. The Reform ministry, he argued, proposed to use patronage to strengthen the grip of extreme partyism on the country. This in itself was dangerous enough, for partyism prized partisanship and factionalism over independent judgement and the public interest, and rewarded loyalty rather than merit. In this respect the Reformers were reviving all the evils of Family Compact rule when patronage had been used for the benefit of a faction and a sect rather than the community as a whole. But more importantly, by attempting to control patronage, the Reform ministers were attacking the British connection itself: to put the control of patronage primarily in the hands of the council was to undermine the independent authority of the governor and thereby fatally weaken the link with the crown. To accede to such a principle would give Canada “Responsible Government in a sense that would make the Crown a ‘tool’ in the hands of a party; or in a sense, as the Imperial Government emphatically declare, would make ‘Canada an independent republic.’” Thus the duty of the people of Canada in the present crisis was clear: to sustain the kind of responsible government which had been established by Sydenham, which was approved by the imperial government, “and which Sir Charles Metcalfe has most explicitly and fully avowed.”

 

The Metcalfe ministry won the elections of 1844 for many reasons, though no doubt Ryerson’s “Defence” and the loyalty cry he helped to raise played a part in influencing moderate opinion. His appointment to an important public position may also have influenced Methodist voters for it represented a long-delayed recognition of their importance and their claims to full membership in Upper Canadian society. The affair also won Ryerson the lasting enmity of some Reformers, George Brown* amongst them, and a recurring epithet, “Leonidas,” for Ryerson’s smug comparison of his own role in 1844 with that of the hero of Thermopylæ. Ryerson himself left Canada West in October 1844 for his first tour of educational establishments in Britain and on the Continent, and did not return until December 1845. In the following year, working closely with Draper, he began the task of reorganizing the structure of elementary education in the colony.

 

He could not, however, detach himself immediately from the political role he had played in 1844. He had publicly allied himself with Metcalfe and with Draper’s Conservative ministry. Upon the victory of the Reformers in the elections of 1847–48 it was commonly rumoured that Ryerson would be replaced as superintendent of schools. He survived for several reasons. Impressed by his competence, Lord Elgin [Bruce*] gave Ryerson his full support against those who wished to dismiss him for political reasons. Ryerson also had warm allies within the ministry, such as William Hamilton Merritt*, and influential admirers within the party. Above all, Francis Hincks, worried about the Methodist vote, was prepared to bury the political enmity of the mid 1840s. By late 1849 Ryerson had prevailed. His chief enemy in the ministry, Malcolm Cameron*, had resigned, new school legislation that undercut Ryerson’s position had been set aside, and Ryerson had been invited to remain in office and to prepare a revised school bill incorporating the experience of his four years as superintendent. The way was now clear for him to begin the most significant phase of his life’s work.

 

Ryerson’s main preoccupation in the two decades after 1850 was to give form and substance to his vision of the appropriate system of education for Canada West. That vision had been taking shape for years, derived in equal parts from the lessons of scripture and Methodist theology, from his reading of the early 19th-century debates in Britain and America about the importance of popular education, from his participation in the editorial warfare over educational policy in Upper Canada, and from his study of other school systems during his tour of Europe in 1844–45. Though Ryerson wrote voluminously about education throughout his public life, his ideas were expressed most fully and systematically in his Report on a system of public elementary instruction for Upper Canada, written after his return from Europe.

 

At the heart of his educational ideas lay his Christian faith. Next to religion itself, he believed, education was the great agent of God’s purpose for man. Carried out in a Christian context, education promoted virtue and usefulness in this world and union with God in the next. Because it made good and useful individuals it was also a key agent in supporting the good society, inasmuch as it helped to promote social harmony, self-discipline, and loyalty to properly constituted authority. To Ryerson it was the duty of education to develop “all the intellectual powers of man, teach him self-reliance as well as dependence on God, excite him in industry and enterprise, and instruct him in his rights as well as the duties of man.”

 

From these principles Ryerson drew his particular goals. First and foremost, a system of education must be Christian: a secular education was a danger to the child and the society as well as a denial of God’s message to mankind. Secondly, in order to have its intended effects on all children, schooling must be universal. A truly national system must also be “extensive” or “comprehensive”: it must meet the needs of all ranks and vocations by providing both elementary and advanced institutions of education. As well the system must be both British and Canadian. The schools had a duty to uphold the British tie and respect for British constitutional government, and at the same time to foster local patriotism and serve the particular needs and circumstances of Upper Canada’s social and economic life. Finally, the system must be the active concern of government. As an ordinance of God “designed by the Supreme Being ‘to be a minister of God for good’ to a whole people,” government had a duty to sustain and encourage those institutions which promoted the temporal and eternal welfare of its citizens. These were the goals Ryerson would pursue in his remarkably long career as superintendent of education in the upper province.

 

When Ryerson first took office in 1844 there were already more than 2,500 elementary schools in Canada West: financed by a combination of government grants, property taxation, and tuition fees; run by locally elected boards of education; and supervised and coordinated, though in a somewhat ineffective way, by an established central Education Office. Ryerson, in other words, did not create a school system; he inherited one. Throughout his career, moreover, his success was in large part the product of a climate of opinion highly favourable to his aims. Politicians, editors, and other public figures of all religious and political persuasions were sympathetic to the expansion of schooling. School boards and taxpayers provided most of the financial and political support at the local level and imposed broad limits within which central policy could operate. Thus system-building was a cooperative venture rather than the sole achievement of any one individual. More than anyone else, however, it was Ryerson who gave the emerging system its particular shape and character. Between 1844 and 1876 he was involved in a multitude of projects, ranging from the drafting of his major school legislation of 1846, 1850, and 1871 to writing school textbooks, promoting school libraries, and creating a museum of art and science. But his four major achievements were the creation of conditions which made universal access to elementary education possible, the promotion of improvements in the quality of the school programme, changes in the function and character of the grammar schools, and the establishment of an effective administrative structure.

 

He sought universality and improved quality in several ways. In a period when much of the province was still being settled Ryerson provided the legislative and financial devices that enabled even new, small communities to provide schools for themselves. He also led the campaign, which culminated in the Schools Act of 1871, to make every elementary school tuition-free and to introduce Ontario’s first tentative measure of compulsory attendance. For Ryerson, however, it was not enough to ensure that the rudiments alone were universally available. Through exhortation and regulation he tried to make certain that the programme of studies extended well beyond the “three Rs” so that the elementary schools not only began but completed all of the schooling most children and their parents would want or need. He tried to ensure that textbooks were pedagogically sound and reflected the political, social, and religious values he believed should underpin Upper Canadian society. Finally, he did what he could to promote improved teaching. In 1847 he established the first teacher-training institution and he constantly attempted to set progressively higher standards for the certification of elementary school teachers.

 

Ryerson’s achievement with respect to the grammar schools was twofold. First, by persuading the politicians and the public to accept the principle that grammar schools should have access to local taxation, he put these institutions on a sound financial footing for the first time in their history and transformed them into unequivocally public institutions. Secondly, he attempted to turn the grammar schools into effective secondary schools. By the gradual introduction of an entrance examination and a prescribed curriculum that clearly delimited the functions of elementary and grammar schools, he linked these institutions hierarchically. At the same time, he attempted to ensure that the grammar schools would offer a high-quality, broadly based education, consisting of English, mathematics, and classical studies, to that minority of students continuing beyond the elementary level.

 

By creating an effective administrative system for his own department, Ryerson became a member of that small group of pioneer public servants who, in J. E. Hodgetts’ words, made responsible government “a working reality.” He established a strong central authority and a system of local inspection designed to ensure that provincial policy could be implemented and enforced. His own daily routine was dominated by an immense volume of correspondence generated by the problems of institution-building at the local level – correspondence that required him to write hundreds of letters a month in response to requests for guidance and advice. By careful attention to the detail of the organizational machinery at his command he secured both financial and administrative responsibility throughout the system. He reduced the routine work of administration as well as his relations with the local authorities to a body of systematic procedure that covered everything from the gathering of a multitude of statistics to the means by which local boards could function fairly and efficiently in the day-to-day running of the schools. An intensely methodical administrator, Ryerson created the first effective social service bureaucracy in the province’s history.

 

He was, however, not only a school administrator but, in Alison Prentice’s phrase, a “school promoter” as well. Through his speeches, his educational tours of the province, and the Journal of Education for Upper Canada, which he edited from 1848 to 1875, he reported the best ideas from home and abroad, exhorted local boards to introduce this or that new idea, and launched his own campaigns for such major innovations as free schools and compulsory education.

 

Part of his promotional task, perhaps the least welcome part, was to defend the place of grant-aided Roman Catholic separate schools within the system. Though these schools represented only a small proportion of the total number of schools in operation, they became the subject of prolonged political, religious, and sectional controversy in the mid 19th century. Though Ryerson had no a priori objections to denominational schools where a common faith was shared by the whole population, he did not approve of sectarian schools in a denominationally diverse society like Canada West. He thought such schools impractical in most parts of the country, divisive, and unnecessary on the grounds that all the essential, shared doctrines of Christianity could be taught in the elementary schools without reference to the peculiar doctrines of each sect. None the less he had inherited responsibility for the separate schools from the School Act of 1841 and could see no way of abolishing them, given the union of the Canadas which ensured the Catholic minority of Canada West the powerful support in the legislature of their Lower Canadian brethren. Thus Ryerson found himself repeatedly forced to defend the status quo, or to justify a succession of unpalatable political compromises on the issue, in an attempt to fend off both the abolitionists and those who sought the extension of the Catholic system. The additional rights won by Roman Catholics in 1853, 1855, and 1863 were modest compared to their demands; Ryerson was largely successful in preserving the unity of the school system. But his role made him appear to endorse the survival of the separate schools against the clearly expressed will of the majority of politicians and electors in Canada West, and kept him deeply embroiled in public debate from 1852 to 1865, when the issue was finally disposed of as part of the confederation settlement.

 

If Ryerson disliked the separate school controversy, however, it was because he believed the question to be insoluble and divisive, not because he thought it inappropriate for public servants to become involved in political questions. The modern conventions of civil service neutrality and anonymity were still in a formative stage in the period and Ryerson stands out as a Canadian example of that transitional group of mid-Victorian reformer-bureaucrats whom George Kitson Clark has labelled “statesmen in disguise.” Because Ryerson believed that the disposition of educational issues should not be subject to politics or partyism, he had made the Education Office a semi-autonomous agency with no distinct ministerial head. Though formally responsible to the Executive Council, Ryerson himself assumed an almost ministerial role. He established policy, sought political support for it inside and outside parliament, and defended it in public. Moreover his notion of his public duty transcended responsibility to a particular ministry or even parliament. In effect he saw himself as the guardian of the public interest in all educational matters. Even in the late 1860s Ryerson did not think it anomalous, when his own views conflicted with those of a member of the cabinet, to confront the minister with the threat that he would take his side of the case directly to the public. Nor did he feel constrained to keep his activities within the formal jurisdiction of his office. While in England in 1851, for example, he acted as an emissary for the administration to the Colonial Office on the clergy reserves issue and published anonymous letters on the same subject in the Times. He regularly exchanged political gossip and advice with politicians to whom he was personally close, especially William Draper, Francis Hincks, and John A. Macdonald*, and on at least one occasion privately used his influence among Methodist leaders to sway their politics and their votes.

 

Throughout his superintendency, moreover, he remained an active participant in the affairs of Upper Canadian Methodism. With the exception of the year 1854–55, when a brief but tempestuous dispute over the rights of Methodist ministers to require attendance at class meetings led to Ryerson’s temporary resignation from conference, he continued to serve on important conference committees, including the board of Victoria College. In the late 1860s and in the 1870s he was an active supporter at conference of the negotiations for Methodist union and was honoured in 1874 for his contributions to the institutional development of Canadian Methodism by his election as the first president of the Methodist Church of Canada. This continuing clerical role, however, involved him once again in a highly contentious political issue, the university question.

 

Ryerson always claimed that he was a warm supporter of a provincial university, and no doubt he was in the sense that he generally supported any measure that would sustain effective professional schools and provide common standards for examinations and degrees among the various colleges in the province. Indeed he himself had written the original draft of Hincks’s University Act of 1853, which incorporated these ideas. But Ryerson was also a resolute defender of the denominational colleges as agencies for ensuring a Christian education and environment for young men who did not live at home. And he had an immense personal commitment to the survival of Victoria College, which he had done so much to foster in the 1830s and 1840s. For both reasons he was an energetic supporter of public aid to the denominational colleges throughout the 1850s and 1860s. He took a leading role between 1859 and 1863 in the concerted attempt by several denominations to force the government to give them access to the funds of the University of Toronto and in the abortive campaign in 1868 to prevent the new government of Ontario from abolishing the existing grants to the denominational colleges. In the controversy surrounding the question, Ryerson always attempted to claim the high ground as champion of the interests of Christianity and high standards in education. But to those who believed in the virtues of a civic university, free from sectarian control and large enough to offer a comprehensive liberal and professional education, he inevitably appeared as the partisan of denominational self-interest and sectarian political scheming.

 

The 1850s were for Ryerson among the most satisfying years of his life. He had experienced his share of personal tragedy in the two previous decades with the deaths of his first wife and both their children. By the 1850s, however, he and his second wife had settled in a comfortable house in Toronto, and had two growing children, Charles Egerton and Sophia. Though Charlie was a constant worry to his father because of his lack of earnestness and studiousness, he became a welcome sporting and sailing companion later in Ryerson’s life. Sophie, as Ryerson’s warm and often moving letters to his daughter reveal, was the love of his life, particularly since his relationship with his second wife was somewhat distant and at times strained. The 1850s were also among his most productive years as superintendent. In a sequence of major legislation between 1850 and 1855 he had put the common school system in order, begun the reform of the grammar schools, and played a role in reshaping the provincial university. He was on close terms with most of the influential politicians of the day, and received broad support from both parties and from the provincial press; even the Globe found good things to say about him for much of the decade. He basked in the accolades of Lord Elgin during ceremonies connected with the building of the Normal School in Toronto, and was invited in 1854 to serve as a member of a commission of inquiry into the state of King’s College (University of New Brunswick) in Fredericton, N.B. Among other ornaments of public approbation he accumulated three honorary degrees: a dd from Wesleyan University, Middletown, Conn., in 1842; an ma from the University of Toronto in 1857; and an lld from Victoria College in 1861. His reputation and his public role seemed permanently and securely established.

 

Towards the end of the decade, however, both his personal and his professional circumstances became more troubled. In the late 1850s his pride was badly wounded by a contretemps with John Langton*, the provincial auditor. Langton, the first to admit that Ryerson was a superb administrator, had written in 1856 that Ryerson had “the genius of order and system,” and that “his accounts and vouchers are a model for all our public departments.” But between 1855 and 1857 Langton also discovered and exposed the fact that Ryerson had personally collected the interest on public funds held in his name. It was not an illegal practice at the time, and Ryerson believed he had ministerial approval for it, but it was also ceasing to be acceptable conduct in the public mind. He promised to pay back the entire amount and a sympathetic government granted him virtually the equivalent sum in back salary. But he was stung by the accusations against his probity and shaken by the way in which those charges remained current long after the issue had been formally settled. Then, in 1862, approaching the age of 60, Ryerson suffered a prolonged and severe illness marked by the recurrence of headaches, dizziness, and coughing. His illness forced him to reduce his traditional schedule of work and as he recovered in the succeeding years he took his first real vacations and embarked on a regimen of vigorous exercise. Among other things he built a skiff, and over the next few years sailed and rowed nine times from Toronto to Long Point, five of these adventures, much to the consternation of friends and family, being undertaken alone. Though he would regain much of his strength by the mid 1860s, he would suffer relapses for the rest of his life and was never again able to carry the burden of work he had once borne.

 

From the late 1850s onwards, moreover, he discovered that there was a price to be paid for insulating the department from the political process, for he began to have difficulties persuading the politicians to interest themselves in his projects, carry forward his legislation, and defend him when he was under attack. These difficulties, perhaps more than anything else, convinced him by the late 1860s that a ministerial head was essential if the interests of the department and the school system were to be adequately protected. At the same time he began to accumulate a growing number of enemies. His public attack in 1858 on the educational policies of the short-lived coalition between George Brown and the Lower Canadian Reformers marked the reopening of hostilities between Ryerson and Brown which would last until the latter’s death. Along with this incident his role in the university question and his close relations with John A. Macdonald alienated many leading Brownite Liberals. Nor did Ryerson learn prudence from the political controversies in which he found himself involved. When in 1867 the Reform party called for an end to coalitions and a return to party politics, Ryerson replied with a pamphlet entitled The new Canadian dominion: dangers and duties of the people in regard to their government, in which he returned to the themes of 1844, warning against the dangers of partyism – its “intolerance,” its “excesses and oppressions,” and the “unscrupulous partisanship” of “this hermaphrodite spawn of cast-off colonial despotism and selfishness.” All of this controversy contributed to what Oliver Mowat* would describe, in a letter to Ryerson in 1873, as “the antagonism towards you which has so long prevailed in the Liberal party.”

 

Illness and the frustrations of public life led Ryerson to talk sporadically about retirement throughout the 1860s. At the same time, however, he was anxious to complete his agenda for educational reform. In 1866–67 he made his last educational tour of Europe and America, out of which came two reports, written in 1868: one on the education of the deaf, dumb, and blind, and the other on the state of American and European education along with recommendations for the improvement of the Ontario system. Late in the same year he submitted draft legislation designed to improve the details of school law and to introduce universal free elementary education, compulsory attendance, and a new structure for secondary education.

 

His initial hopes for quick and easy passage of the school bill were soon dashed. In part this disappointment was due to the constant attacks mounted by the opposition Liberals, many of them directed at Ryerson personally. But it was also due to the emergence of real public debate about a wide variety of educational issues. Differences of opinion in the legislature and the press, along with opposition to parts of the bill from teachers’ organizations and from local opinion expressed during Ryerson’s tour of the province in 1869, led to the temporary withdrawal of the bill and to considerable modification of it. The new School Act, finally passed early in 1871, contained most of Ryerson’s major recommendations in one form or another and remains as one of the great landmarks of his career. But it was passed amidst a degree of political debate and personal bitterness not experienced by Ryerson since the late 1840s.

 

Ryerson’s last years in office were unhappy ones. Again some of this unhappiness was due to the political and personal antagonisms among Liberals over the previous 30 years – antagonisms that boiled over in 1872 in his bitter and sustained public conflict with Edward Blake*. But it was not merely a matter of personalities and political differences. From the administration of John Sandfield Macdonald* onwards, successive ministries were determined to regularize the procedures of the Education Office and, more importantly, to exercise a firm hand in educational policy-making. In Ryerson’s view this effort was an invasion of his prerogatives as well as a denigration of his own role to that of “a clerk,” and seemed motivated by the most base political partisanship. Each incursion – from the simple attempt by the provincial treasurer in 1868 to impose financial controls on the department to the suspension of his school regulations in 1872 and the plans to modify his book depository – was met with resistance and, too often, with a barrage of invective hurled at those he conceived to be his persecutors. In 1872 Blake seemed to invite conflict; Mowat was far more conciliatory. He sought Ryerson’s advice, allowed him considerable latitude in the administration of the department, and applied liberal amounts of soft sawder when Ryerson’s sensitivities were bruised. But he was no less determined than Blake to be his own master. As Mowat put it on one occasion when a quarrel threatened: “I would much rather cooperate with you . . . but if I must have a fight with the Chief Superintendent . . . instead of his co-operation, as in my position I ought to have, I must still do what I consider to be my duty.”

 

The conflicts of the years 1872–75 invited either resignation or dismissal. Yet neither option could be exercised. Ryerson repeatedly expressed a wish to resign but he did not have the financial resources to sustain himself independently: for years he had given generously to help finance a variety of Methodist causes including Victoria College, he had a nephew to educate, and he may also have lived somewhat beyond his means. Thus he needed to assure himself of a government pension and could not afford to make any grand gestures over policies with which he disagreed. Either Blake or Mowat would probably have welcomed his resignation but there were political difficulties in providing him with a permanent pension and differences within the Liberal party itself over the kind of reorganization the Education Office should undergo. Dismissal, on the other hand, was out of the question. Ryerson’s reputation remained high in many quarters and he was still, as even the Liberals recognized, a power among Methodist voters. It was not until late 1875 that Mowat finally took the matter in hand, and made the decision to create a ministry of education [see Adam Crooks] and to provide a pension for Ryerson. He formally left office in February 1876, just over a month before his 73rd birthday.

 

Retirement, however, did not mean a life of leisure. Since the early 1860s Ryerson had devoted his spare moments to what he was convinced was his last “mission” in life – a history of the United Empire Loyalists. In 1876 the project became his full-time occupation and most of that year was spent in England where he put in long hours of research in the British Museum. Over the succeeding five years he finished the two large volumes that make up The loyalists of America and their times. Beyond that he completed a school textbook on political economy and a history of Canadian Methodism. He was working on his autobiography when, in the summer of 1881, his health began to fail. He died on 19 Feb. 1882. Following a large and impressive funeral service he was buried in Mount Pleasant Cemetery, Toronto.

 

Ryerson’s life spans the growth of Upper Canada virtually from first settlement to the social and economic maturity of the 1870s. For most of those years he was a major figure in its history. Particularly before 1850 he played a central part in the institutional growth of Methodism, one of the province’s largest denominations. As well, he helped to articulate and publicize “the grievances of Upper Canada,” and contributed to the debate about the nature of colonial-imperial relations. If most historians now reject an older view that Ryerson determined single-handed the results of the elections of 1836 and 1844, still he remains an influential figure in these events and one of the leading spokesmen for that majority of Upper Canadians who sought some middle way to reconcile self-government and the imperial tie.

 

But it is his contribution to Canadian education that remains his greatest legacy. He was one of the founders of Victoria College, its first principal, and a generous benefactor through some of its most difficult years. He was a vigorous protagonist of the right of all the denominational colleges to survive and prosper in the province. And he attempted to make the grant-aided schools universal and comprehensive and to create an effective system of public administration at both the local and provincial levels.

 

Few of his educational ideas were original. John Strachan, for one, had anticipated many of them, while others were the common coinage of an era when school systems were being constructed in many different places. Nor was his vision without flaws. He had an unsure hand when it came to providing for the advanced education of young women. To some of his contemporaries his version of non-denominationalism in education appeared as little more than a disguised and proselytizing form of evangelical Protestantism. And his hopes for social improvement through education were vitiated by a belief, widely shared by his generation, that social and economic inequalities were the unchangeable realities of man’s fallen estate. During his lifetime there were already divergent views about the merits of the school system, and since his death the assessments of his work have been diverse and conflicting. But on one point there has been consensus. More than any other person Ryerson gave the Ontario school system its particular character, one that, because of his enormous influence in his own generation, would become during the later 19th century a model for most of English-speaking Canada.

“Hey man, take my picture!”

“I can’t do it. It’s too dark.”

“Yeah, we need some light. Let’s go over there.”

“Are you homeless?”

“Yes, I am.”

“How long have you been homeless?”

“15 years. I’ve been in Boston 8 months. Before that I was in Washington, Virginia, New York, Philadelphia, Louisiana, Florida…”

“Why didn’t you stay in Florida? It’s so much warmer.”

“I wanted to see my family. But they don’t want to see me. They don’t understand depression. They treat me like dirt. Homeless people treat me better than my family.”

“And what happened 15 years ago? How did you end up on the streets?”

“I tried to burn myself twice. I had 30 surgeries. I was dead two times, but God brought me back. I don’t know why.”

“And why did you do it?”

“I was depressed. Why you crying?”

“Because you are a beautiful person, and my family is really messed up, and I’ve been very depressed. I think I can understand you.”

“Yes, I am a good person. And when you take people’s pictures, don’t disrespect them.”

“No, man, I won’t. I like people. That’s why I take their pictures.”

“And when you make your portfolio, don’t denigrate people. Let the pictures speak for themselves.”

“I will. Are you safe on the streets?”

“Yes, I am…And now I have $8 to buy me some food.”

“That’s all I have. Next time I see you, I will give you more.”

“No, man. It ain’t all about money. Give me a hug. And next time you see me, give me a hug again. And thanks for taking my picture.”

 

portraitsofboston.com

Located at number 19 Camp Street in the former Gold Rush town of Daylesford, the former St Andrew’s Presbyterian Church offers wonderful views as it looks down from the high side of the road, across the township, now known for its natural mineral springs and day spas.

 

Built in 1903 under the benefaction of Jessie Leggatt, who laid the foundation stone on the 9th of December that year, St Andrew’s is not unlike the Castlemaine Presbyterian Church in Lyttleton Street. Built of red brick with sandstone detailing, St Andrew’s has been built in a Picturesque Gothic style with adaptations of both Florentine and Pauduan Gothic. It features a splendid slate roof, and has been built in a symmetrical style, with two hexagonal towers to either side of the enclosed loggia entrance. The taller of the towers on the left hand side serves also as the church’s belfry and has a crenellated parapet and a copper covered spire. The gable over the front doors is pierced with a traceried window with two mullions in early English decorated style. The small gables of the transepts are pierced with single mullioned windows of the same period. The interior is filled with magnificent original features including stained glass windows, ceiling roses, cathedral ceilings, lovely old floorboards and an extremely rare church organ.

 

In the intervening years since 1903, Daylesford has gone through many changes, going from a town populated by citizens seeking to make their fortunes in gold, to those come to seek rest and relaxation in this now resort town in central Victoria. With parish numbers dwindling, the Presbyterian Church has seen fit to close the doors of St Andrew’s, opting for a smaller and less formal presence in the town’s community centre. At the time of photographing, St Andrew’s is up for sale, and has had council approval for the construction of apartments and town houses in the rear of the property and the adaptation of the church itself into a single or multiple dwellings. With an asking price just short of one million dollars, to date there has been very little interest in the property, and so St Andrew’s falls slowly, but surely into decay as neglect sinks in. The grass grows high around its bluestone foundations; graffiti denigrates Jessie Leggatt’s memorial plaque in the entranceway; the painted archway above the gates rots, save for the faded letters that spell out St Andrew’s in weathered greyish white flecks, and the old weatherboard Sunday School sags into the briars. A large holly tree, planted when the church was first built still sits at the side, waiting, like the church, for a new lease of life like other former churches in the area.

 

Maker: Carl Dammann

Born: Germany

Active: Germany

Medium: albumen prints

Size: 12 in x 8 in

Location:

 

Object No. 2022.113

Shelf: B-38

 

Publication: DAMMANN, CARL. 1819-1874, AND FREDERICK W. Ethnological Photographic Gallery of the Various Races of Mankind. London: Trubner & Co., [1875].

 

Other Collections:

 

Provenance: pumpkin park photos

Rank: 168

 

Notes: Carl Dammann was a photographer from Mecklenburg, who settled in Hamburg to practice his craft. In 1870 he was asked by the Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte (Society of Anthropology, Ethnology and Prehistory of Berlin) to photograph the African and Arab crewmen who had arrived in the port of Hamburg with a fleet from Zanzibar. He extended this study with photographs of members of a Japanese acrobatic troupe. The society then collected additional ethnographic photos from members around the world, and sent them to Dammann to select and gather into an album for publication. Carl Dammann died before he could see publication of the work in its original form in German, but his brother Frederick completed it and Anthropologisch-ethnologisches Album in Photographien, was published in 1874, the year of Carl's death. It contained 642 albumen photographs on 50 mounts, but one year later a smaller version was published in London with 167 photographs. Many of the images in the smaller version were new to the edition. The captions are highly subjective, and show a prejudicial European bias: "There is but little to remind us of the Mongolian type in the countenances of the Hindoos, which are often remarkable for a symmetrical beauty that only wants a more intellectual expression to render them extremely striking." Despite the racial denigration contained in the text, the work offers a remarkable glimpse at faces of people from all corners of the globe during a bygone era.

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

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

www.wien-vienna.at/index.php?ID=484

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

www.wien-vienna.at/index.php?ID=484

Steve Lorillere | Saint-Tropez Photo | Twitter | facebook

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

www.wien-vienna.at/index.php?ID=484

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.

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

www.wien-vienna.at/index.php?ID=484

Ahoy there and howdy!

My name is Zeke (She/Fae/They) and I am delighted to invite you to our first ever round of CRACK FANDOM MONTHLY: Hoa Hoa Hoa edition.

 

BACKGROUND:

Now, this event IS in reference to that one vampire series where they sparkle and dazzle and run with shifters (not werewolves), but DID YOU KNOW The Quileute Tribe of La Push, who were prominently featured in the series (books AND films) never made a SINGLE PENNY from the franchise? And none of the actors were Quileute themselves aside from the first movie's 'extras' (Taylor Lautner and Booboo Stewart aren't even Indigenous???)

 

Their nation was co-opted, appropriated, and paraded with nonsense legends the author created, and the tribe were not only disrespected by not getting paid, but the production company decided they had NO RIGHT to use the Quileute 'Tribal art' from the franchise to capitalize on their own!

And now they actively have to inform visitors that "no we don't shape shift, please don't trash our lands, please respect our culture-- and also, we're trying to relocate our tribal buildings out of the tsunami zone, can you please help us?".

AND THAT is where Crack Fandom Monthly AND YOU come in.

 

IMPORTANT:

For this event, I am not asking for ANY fees from creators for their booth.

I am not going to charge late fees if your product isn't ready (I will send you love notes to make sure you're okay, instead!!!)

 

However, I would LOVE if you, at the end of the event, would tally up the amount you sold, and donate ANY PERCENTAGE OF YOUR CHOOSING to the Quileute Tribe's Move To Higher Ground Fundraiser (mthg.org). I will not be policing you, it's just a suggestion.

 

[There will be an opportunity to donate to a jar which I will then donate on behalf of the event at the end (I donate every year anyways!)]

 

---

 

NOW TO THE EVENT INFO.

Setup will begin 11/18, the event will 'officially' open 11/21 at 5pm SLT.

There are currently 16 booth spaces available. I am willing to add more spaces if demand is higher :)

Discord for creators & Booth Shape/Size available in NC.-- I currently have a 'booth' in the space, you are welcome to use it or bring your own or whatever works best for you!

[Current Booth link: (NS Chise Booth) marketplace.secondlife.com/p/NS-Chise-Booth/27083393

Crack Fandom Monthly Group: secondlife:///app/group/ab805e1e-86f8-30e6-609f-cdd827f2cbd2/about

 

Reqs:

1) The region is an ADULT Region, no children/child avatars permitted, they will be removed if they do not look over 18.

1a)**Additionally, please keep the references to Renesmee Cullen to a minimum (Chuckesmee is always fair game if you wish)

1b) This means go nuts with adult shenanigans I'm not judging. If you wanna sell a "Daddy Carlisle" shirt, do it.

 

2) Please do not reference 'Imprinting', or anything that denigrates the Quileute Tribe (the author made a TERRIBLE DECISION referring to them as "Savages" and "Dogs" which has been a long running slur against Indigenous people to make us less than human and remove our agency). Rats, rat mentions, rat memes are fine (cause they live in the sewers of Volterra)

2a) I have to say this and it's sad I do, but racism, xenophobia, homophobia, transphobia, ableism, Zionism, and MAGA-bullshit will not be tolerated. Anyone who dislikes this can argue with a wall, they'll get farther.

 

3) OTHERWISE there is absolutely FULL permission to make all the dumbass werewolf, vampire, ice penis, new moon cup and Dolphussy jokes you want, and make fun of the series or be incredibly serious about your love of the series! Say other vampires are better, point out that Lestat would be absolutely LIVID he didn't sparkle in the sunlight and be petty about it!!!

3a) if you need ideas or inspiration, ask me and I will hand you as many fucking memes/ideas as I can find. If you want direct from the source: www.facebook.com/groups/twilightshitposting

 

[Disclaimer: Crack Fandom Monthly, myself, Second Life, and every single diety in existence are NOT at fault if you are traumatized by any content in what is affectionately referred to as a Twilight Shitposting Dumpster Fire. May the New Moon Cup bless you and may you run faster than Mommy Kayla with her sock full of chewed marbles.]

 

4) If you want to re-release an item with a special color/graphic what have you, do it. There is no requirement for an event exclusive item. You are more than welcome to fill the space of the booth with previous creations to boost sales! This event is about helping each other, supporting the Quileute tribe and having FUN.

 

5) And finally: This Event will REJECT, EJECT, and REMOVE anything created with AI. That goes for the product, advertisement, booth, graphic, etc. We are PROUD TO BE HUMAN MADE and want to support creators who put in the time, not put in a prompt.

 

***Setup will begin 11/18, the event will 'officially' open 11/21 at 5pm SLT.

Please let me know of your interest before 11/07***

 

Please feel free to share, this is an open invitation to all creators who do not use AI and have bandwidth! And I am open to any questions!

 

Thank you for your consideration (and reading this I'm sorry I'm bad at summaries)

As I was standing in the courtyard at the Quad composing this image of the wonderful mosaic facade of Stanford's Memorial Church, a group of tourists from India raced thru snapping photos and denigrating what they were seeing. One (who was probably about 18 years old) said "none of the cathedrals in America are as impressive as the ones in Europe". My (unspoken) attitude was "then get the hell out of my way, so I can take a picture". I also thought, "exactly how many American churches have you visited anyway... "

 

That evening I went to my Mark Twain class, and heard his oft-repeated quote “Travel is fatal to prejudice, bigotry, and narrow-mindedness.” Sorry, Samuel Clemens, apparently that didn't apply in this case.

 

This mosaic depicts Jesus at Bethany after the Resurrection. The professor indicated that there are those who believe the muralist was attempting to blend east and west with the depiction of a mountain in the scene that looks very much like Yosemite.

 

View On Black to see if you agree.

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.

Steve Lorillere | Saint-Tropez Photo | Twitter | facebook

I am enjoying recreating credible scenes from my childhood and earlier, using reference photos and local knowledge along with the power of MidJourney.

 

If you are someone who denigrates or otherwise despises AI … grow up. It’s just another useful tool to augment our imaginations and desires and permit people like me to reminisce, visually.

When Western pictorial art arrived in Japan in the late Edo period the Japanese were amazed at how photographic it was. One of the first famous Western-Style Japanese artists, Shiba Koukan, wrote

 

"What is remarkable is that it (Western Art) enables one to see clearly something that is actually not there. If a painting does not truly portray a thing it is devoid of the wonderful power of art. Fuji-san is a mountain unique in the world, and foreigners who wish to look at it can do so only in pictures. However, if one follows only the orthodox Chinese methods of painting, one’s picture will not resemble Fuji, and there will be node of the magical quality in it that painting possesses. The way to depict Fuji accurately is by means of Dutch painting." (Shiba Koukan see Keene, 1952 p.67)

 

The traditional Japanese painting, following its Chinese model, attempted to "delineate the spirit" (Keene, 1952, p.66) of the subject resulting in idealised or mangarized representations of "beautiful women" (bijinga) for instance. The women in Japanese biinga (above left) are as uniform as those in Anime, and the mountains in Japanese and Chinese art, sharing essence of beauty or mountain.

 

To Westerners however, the image is usually seen as superficial, "mere image," (Aristotle, see Brenkman, 1976) a fact which facilitates the pictorial representation of people "warts and all" such as in the famous picture of Oliver Cromwell, above right.

 

This is the reverse of the situation in verbal, linguistic representations of people wherein Westerners are generally very idealised (braggart) and uniform, whereas Japanese say it how it is (Heine, Lehman, Markus, & Kitayama, 1999; T. R. S. Leuers = Takemoto & Sonoda, 1999; T. Leuers = Takemoto & Sonoda, 1999; T. Takemoto & Iwaizono, 2016; T. R. Takemoto & Brinthaupt, 2017; see also Takemoto, T. 武本, Timothy, 2017).

 

More notes

From Jay 1993, p13

Monotheistic religions, beginning with Judaism, have been deeply wary of pagan idolatry. The fictional character of artificial images, which can only be false simulators of the "truth," has occasioned distrust among more puritanical critics of representation. St. Pauls celebrate warning against the speculum obscurum, the glass (or mirror) through which we only see but darkly, vividly express this caution about terrestrial sign. Religious distrust was also aroused by teh capacity of vision to inspire what Augustine condemned as conupiscentia ocularum, ocular desire, which diverts our minds from more spiritual concerns. These and like suspicious have at times come to dominate religious movements and dictate long-standing religious taboos. Mose's strugge with Aaron over the Golden Calk, the Islamic rejection of figural representation, the iconoclastic controversy of the ieghth-centruy Byzantine church, the Cistercian monasticism of St. Bernard, the English Lollards, and finale the Protestant Reformation all express the antiocular sub-current of [Western] religious thought. In fact this hostility remains alive today. in the worl of such theologians as Jaqcues Ellul, whos Humiliation of the Word, written in I981, reads like a summa of every imaginable religious complaint against the domination of sight.

 

Images

Late 17th century Left Beauties by Utamaro Kitagawa

Oilver Cromwell, "Warts and All" by Sir Peter Lely

 

Bibliography

Brenkman, J. (1976). Narcissus in the Text. Georgia Review, 30(2), 293–327. Retrieved from www.jstor.org/stable/41399656

Heine, S., Lehman, D., Markus, H., & Kitayama, S. (1999). Is There a Universal Need for Positive Self-Regard? Psychological Review, 106(4), 766–794. Retrieved from humancond.org/_media/papers/heine99_universal_positive_re...

Jay, M. (1993). Downcast eyes: The denigration of vision in twentieth-century French thought. Univ of California Press. dq=Downcast+Eyes:+The+Denigration+of+Vision+in+Twentieth-Century+French+Thought&ots=SFqXjWmi3P&sig=HgLHWdIcJGXKiAVAmqMCyioZJD0

Keene, D. (1952). The Japanese Discovery of Europe: Honda Toshiaki and Other Discoverers, 1720-1798. Routledge and Kegan Paul.

Leuers = Takemoto, T. R. S., & Sonoda, N. (1999). Independent self bias. Progress in Asian Social Psychology, 3, 87–104. Retrieved from www.nihonbunka.com/docs/independent_self.rtf

Leuers = Takemoto, T., & Sonoda, N. (1999). The eye of the other and the independent self of the Japanese. In Symposium presentation at the 3rd Conference of the Asian Association of Social Psychology, Taipei, Taiwan. Retrieved from nihonbunka.com/docs/aasp99.htm

Takemoto, T., & Iwaizono, M. (2016). Autoscopic Individualism: A Comparison of American and Japanese Women’s Fashion Magazines. 山口経済学雑誌= Yamaguchi Journal of Economics, Business Administrations & Laws, 65(3), 173–205. Retrieved from ci.nii.ac.jp/naid/40021076383/

Takemoto, T. R., & Brinthaupt, T. M. (2017). We Imagine Therefore We Think: The Modality of Self and Thought in Japan and America. 山口経済学雑誌 (Yamaguchi Journal of Economics, Business Administrations & Laws), 65(7・8), 1–29. Retrieved from nihonbunka.com/docs/Takemoto_Brinthaupt.pdf

Takemoto, T. 武本, Timothy. (2017). ジマンガ：日本人の心像的自尊心を測る試み(Auto-Manga as Prideful-Pictures: An Attempt to Measure Japanese Mental Image Self-Esteem). 山口経済学雑誌= Yamaguchi Journal of Economics, Business Administrations & Laws, 65(6), 107–138. Retrieved from nihonbunka.com/docs/Jimanga.pdf

 

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

www.wien-vienna.at/index.php?ID=484

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

www.wien-vienna.at/index.php?ID=484

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

www.wien-vienna.at/index.php?ID=484

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

www.wien-vienna.at/index.php?ID=484

Il Trovatore

 

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

www.wien-vienna.at/index.php?ID=484

This is the earliest photo I can find of me wearing my own clothes that I purchased myself and doing my own makeup. I still didn't have the courage to go into regular shops but bought this skirt suit in Transformation, Manchester. Many older crossdressers will recall that Transformation was run by transexual Stephanie Anne Lloyd and eventually had branches dotted around the country. Stephanie and her chain of shops were largely denigrated in later years for ripping off the crossdressing community and charging exorbitant prices for some very dubious products, but she certainly provided an outlet for nervous and wary crossdressers such as myself.

(E) Bad Trip series is a concretization of idea I had of showing a more dirty and human side of famous cartoon characters. We always see them been successful, been heroes or at least having fun, anyway I always wondered what would've been If they had the same delusions, bad feelings, breakouts as humans have their ups and downs along life. Not trying to denigrate any of this characters representations, only to have a different light on it.