Hindemith’s opera in five acts Die Harmonie der Welt was premiered at the Prinzregententheater on 11 August 1957 – the composer himself conducted. The astronomer and physicist Johannes Kepler is at the centre of the plot, which spans several decades and takes place in Prague, Linz, Sagan in Silesia and Regensburg. Other historical figures such as Wallenstein, Emperor Rudolf II and Emperor Ferdinand II also appear.

Photo credit: Bavarian State Opera Archive

1653: The first opera in Munich, Giovanni Battista Maccioni’s L’arpa festante, is premiered in the Herkulessaal of the Residenz. This is followed in 1657 by L’Oronte by court conductor Johann Caspar Kerll, which marks the inauguration of the first free-standing theatre building north of the Alps: the opera house on Salvatorplatz. A string ensemble together with the continuo group formed a prefiguration of today’s orchestra, which was to grow steadily.

Photo credit: Nösselt, Hans-Joachim: Ein ältest Orchester.

Alexander Zemlinsky’s opera Sarema, based on Rudolf Gottschall’s story The Rose of the Caucasus, was written between 1893 and 1895 and won the 25-year-old composer the Luitpold Prize in 1896. The premiere followed on 10 October 1897 under Hugo Röhr at the Munich National Theatre, thus marking the Austrian composer’s first years of success. Zemlinsky received the Beethoven Prize of the Tonkünstlerverein for his Symphony in B flat major composed in 1897, and by 1899 he had written his opera Es war einmal, …, which was acclaimed in Vienna in 1900 under Gustav Mahler’s direction.

Photo credit: Bavarian State Opera Archive

Franz Lachner’s opera Benvenuto Cellini was premiered on 7 October 1849. Lachner used the French libretto by Léon de Wailly and Henri-Auguste Barbier as a model, which was also the basis for the opera of the same name by Hector Berlioz, which was first performed in Paris in 1838. The plot centres on the historical figure of the goldsmith and sculptor Benvenuto Cellini, who lived in Florence in the 16th century and whose autobiography was translated into German by Goethe. Three years after the premiere of his opera, Franz Lachner became General Music Director in Munich.

Photo credit: Archive Bavarian State Opera

On 22 September 1869, the first part of Wagner’s tetralogy Der Ring des Nibelungen was premiered at the National Theatre in Munich. Contrary to Wagner’s wish not to show the entire Ring until after its completion, Ludwig II pushed through the premiere of Das Rheingold in Munich ahead of schedule. Countless letters document the dispute between the composer and his patron; in the end Wagner stayed away from the premiere by Franz Wüllner and concentrated on founding his own festival at which the entire Ring cycle was to be shown. This did not happen until August 1876, when the first Bayreuth Festival opened.

Photo credit: Wilfried Hösl

The opera in one act Friedenstag was written to a libretto by Joseph Gregor with the collaboration of Stefan Zweig and the composer, based on the comedy El sitio de Bredá by the Spanish poet Pedro Calderón de la Barca. Richard Strauss and Stefan Zweig exchanged plans about an opera project when the composer was in Salzburg in August 1934 during the festival season. After initial sketches, Zweig insisted that the libretto should be written by a third person, since as a Jew he considered the work impossible under the National Socialist regime. Joseph Gregor was suggested by Zweig, and a first meeting between the latter and Richard Strauss took place in Berchtesgaden in July 1935. Strauss repeatedly sought Stefan Zweig’s advice while working on the libretto and reworded verses himself, sometimes even replacing them with his own text passages. Strauss finally completed the score on 16 June 1936, and Friedenstag was premiered at the Munich National Theatre on 24 July 1938. Clemens Strauss conducted, Rudolf Hartmann directed, and the stage design was by Ludwig Sievert.

Photo credit: Friedenstag score. Vienna 1938.

Photo credit: Archiv der Musikalischen Akademie

On July 9, 1978, Aribert Reimann’s opera Lear was premiered at the National Theatre. Claus H. Henneberg wrote the libretto based on Shakespeare’s drama of the same name, Gerd Albrecht was the musical director, and Jean-Pierre Ponnelle directed. See photos from the production at the time, which featured Dietrich Fischer-Dieskau in the title role.

Photo credit: Sabine Toepffer

On July 6, 1991, Krzysztof Penderecki’s satirical opera Ubu Rex received its world premiere at the Nationaltheater, opening the Opera Festival of that year. The libretto in German was written by the composer together with Jerzy Jarocki, based on the play Ubu roi by the French writer Alfred Jarry from 1896. In the two acts with five scenes each, the captain Ubu plans a conspiracy against the Polish king Wenceslas, who is murdered in the process. Subsequently, Ubu must wage war against Russia and finally flee across the Baltic Sea after a defeat. August Everding, then artistic director of the Bavarian State Opera, directed the production, and Michael Boder was the musical director.

Picture credits: Sabine Toepffer

Even though the composer had intended otherwise and wanted his monumental Ring tetralogy to be premiered in his own festival theatre in Bayreuth, this second part was already heard on June 26, 1870, at the Munich Hof- und Nationaltheater. King Ludwig II did not want to wait until the Bayreuth Festival Theatre was completed and therefore arranged for the premature premiere of Die Walküre against the composer’s will. To this day, this opera about the love of the twin couple Siegmund and Sieglinde, which breaks all social norms, and the banishment of his favorite daughter Brünnhilde by Wotan, the father of the gods, enjoys enormous popularity.

Photo credit: Wilfried Hösl

On June 10, 1865, Richard Wagner’s “plot in three acts” Tristan und Isolde was premiered at the National Theatre in Munich. After previous attempts to stage the work failed at several opera houses – including the Vienna Court Opera after nearly 80 rehearsals – the unconditional support of Ludwig II in Munich finally made the project possible. The myth about the unperformability of this opera was nevertheless perpetuated after the premiere Tristan Ludwig Schnorr von Carolsfeld died at the age of 29 only a few weeks after the first performances. Conductors Felix Mottl and Josef Keilberth also suffered breakdowns while conducting Tristan in Munich, leading to the deaths of both. To this day, Tristan und Isolde is a risk for every theatre – because of the immense musical demands on the performers (especially in the title roles), but also because of the outward lack of action with all the more existential themes that are dealt with in the opera. The longing for death of the two lovers pervades all three acts, until the ambivalent harmonic course of the music is resolved with Isolde’s transfiguration at the end. The “Tristan chord” with which the musical prelude begins advanced in music history to become a tonal cipher for a modern tonal language that would culminate in the atonality of the 20th century.

Photo credit: Joseph Albert: Ludwig and Malwine Schnorr von Carolsfeld as “Tristan und Isolde” in the Munich premiere, 1865, Munich, State Administration of Palaces. https://commons.wikimedia.org/wiki/File:Joseph_Albert_-_Ludwig_und_Malwine_Schnorr_von_Carolsfeld_-_Tristan_und_Isolde,_1865e.jpg#/media/Datei:Joseph_Albert_-_Ludwig_und_Malwine_Schnorr_von_Carolsfeld_-_Tristan_und_Isolde,_1865e.jpg

One opera was also premiered in Munich by the pioneer of German-language opera Carl Maria von Weber, whose Freischütz still enjoys particular popularity today. The libretto for the Singspiel in one act Abu Hassan was written by Franz Karl Hiemer and is based on a story from One Thousand and One Nights. Weber was private secretary to Ludwig, Duke of Württemberg, who was in debt and considered corrupt, when he planned the adaptation of a debt story together with Hiemer, a theater poet from Stuttgart. The premiere, however, took place during Weber’s stay in Munich, or more precisely: on June 4, 1811, the first performance of the opera went over the stage at the then Munich Court Theater. In the years that followed, the work enjoyed great popularity and found its way onto the stages of Stuttgart, Frankfurt am Main, Vienna, Berlin, Dresden, Prague, Copenhagen and London, among others. However, as the common combination of shorter plays with opera acts slowly disappeared, performances of Abu Hassan also became more sparse. Nevertheless, in the 20th century there were performances conducted by Bruno Walter in Berlin, Felix Mottl in Munich, and Richard Strauss in Vienna, for example.

Image credit: By Caroline Bardua - 1. umnofil.ru2. GalleriX, Public domain, https://commons.wikimedia.org/w/index.php?curid=22630453

for 3rd and 4th grade students

MUSICAL ACADEMY – DACAPO

DACAPO is the music education project of the Musikalische Akademie des Bayerischen Staatsorchesters e. V. It was developed by musicians of the orchestra for a 3rd and a 4th grade class at elementary schools in the Munich area. Within a few weeks, musicians visit the selected classes of the school. In workshops they present their instruments and their profession. The final event is a concert for all students at the school, if possible. DACAPO combines the encounter with artists as well as getting to know and trying out orchestral instruments in the workshops with the experience of a concert situation.

Applications for the DACAPO project are sent through the Bavarian State Opera’s school program to jugend@staatsoper.de.
With the kind support of the Friends and Sponsors of the
Musical Academy of the Bayerisches Staatsorchester
Munich e.V.

for 3rd and 4th grade students

Hans Werner Henze’s opera in three acts Elegie für junge Liebende was premiered on May 20, 1961, at the Schlosstheater in Schwetzingen by the ensemble of the Bavarian State Opera. The opera was commissioned by the Süddeutscher Rundfunk for the Schwetzingen Festival, and Henze approached librettists Wystan Hugh Auden and Chester Simon Kallman with the idea of “a psychologically highly nuanced chamber opera”. A German translation of the libretto was prepared by Ludwig Landgraf with the collaboration of Werner Schachteli and the composer. The action is set in the Austrian Alps in 1910, more precisely in the mountain inn “Schwarzer Adler”. At the center are the two young lovers Toni Reischmann and Elisabeth Zimmer, whose tragic death together in a snowstorm serves as material for the jealous poet Gregor Mittenhofer’s poem “Elegy for Young Lovers”. The music is characterized by a transparent and differentiated sound as well as by reminiscences of Italian opera and Schoenbergian Sprechgesang. The premiere, with Dietrich Fischer-Dieskau as Mittenhofer and Heinrich Bender as conductor, in a set by Helmut Jürgens, was praised as Henze’s “breakthrough to a musical language of his own”.

Photo credit: Archive Bavarian State Opera

for 3rd and 4th grade students

MUSICAL ACADEMY – DACAPO

DACAPO is the music education project of the Musikalische Akademie des Bayerischen Staatsorchesters e. V. It was developed by musicians of the orchestra for a 3rd and a 4th grade class at elementary schools in the Munich area. Within a few weeks, musicians visit the selected classes of the school. In workshops they present their instruments and their profession. The final event is a concert for all students at the school, if possible. DACAPO combines the encounter with artists as well as getting to know and trying out orchestral instruments in the workshops with the experience of a concert situation.

Applications for the DACAPO project are sent through the Bavarian State Opera’s school program to jugend@staatsoper.de.
With the kind support of the Friends and Sponsors of the
Musical Academy of the Bayerisches Staatsorchester
Munich e.V.

for 3rd and 4th grade students

The world premiere of Erich Wolfgang Korngold’s two one-act plays Der Ring des Polykrates and Violanta took place on March 28, 1916 in Munich’s Hoftheater. The composer was 18 at the time and had already appeared as a child prodigy at the age of 13 with the world premiere of his ballet pantomime Der Schneemann at the Vienna Hofoper. Korngold had already completed his cheerful opera Der Ring des Polykrates in 1914, which was followed immediately by the composition of the tragic opera Violanta. The sensational success of Korngold’s opera Die tote Stadt finally followed in 1920, which last premiered at the Bavarian State Opera in 2019 and caused a sensation under the musical direction of Kirill Petrenko in a production by Simon Stone and with Jonas Kaufmann and Marlis Petersen in the leading roles. This spectacle was documented on DVD and Blu-ray on the in-house label Bayerische Staatsoper Recordings. Max Reinhardt brought Korngold to Hollywood in 1934, where the composer provided the music for 19 films and thus had a lasting influence on film music.

Photo credit: George Grantham Bain Collection (Library of Congress) https://www.loc.gov/item/2005689510/

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore

Photo credit: Archive of the Musikalische Akademie

Today, the proportion of women in the Bayerisches Staatsorchester is over a third. That wasn’t always the case: in the photo from 1911, the only female member of the Musikalische Akademie can be seen in the first row, namely the harpist Leonore Kennerknecht-Buff. She was said to be related to Charlotte Kestner (born Buff), who went down in literary history as the historical role model of Lotte in Goethe’s epistolary novel The Sorrows of Young Werther. In 1892, Buff was accepted as a member of the Bayerisches Hoforchester, which later became the Bayerisches Staatsorchester. Other orchestras took much longer to take this step: while the Berlin Philharmonic accepted the first woman as an orchestra member in 1982, the Vienna Philharmonic only followed suit in 1997.

More about women in orchestras: https://www.kulturrat.de/themen/frauen-in-kultur-medien/beitraege-publikationen/gendersrecht-in-berufsorchestern/

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore

Photo credit: Archive of the Musikalische Akademie

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/

Photo credit: Wilfried Hösl

The Staatliches Hofbräuhaus brewery in Munich preserves the tradition of beer symbols, also known as beer marks: since the 19th century they have served as a calculating aid and have been part of almost every brewery for a long time; first made of brass, then aluminium, later made of plastic, in the post-war years after the Second World War also in the form of paper notes. Each brand has a specific value, for example “1 Maß light or dark” or “Good for 1 liter of beer”. In the Hofbräuhaus am Platzl, beer tokens can be purchased that keep the value of a beer, even if the prices on the drinks menu go up. Now there is also a beer sign from the Hofbräuhaus in honor of the 500th anniversary of the Bayerisches Staatsorchester.

Worth knowing about the beer brand: https://www.historisches-unterfranken.uni-wuerzburg.de/db/biermarken/biermarken/aufsatz.php

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/

Photo credit: Wilfried Hösl

Photo credit: Archive Musikalische Akademiee

Photo credit: Wilfried Hösl

On February 22, 2010, The Tragedy of the Devil by Hungarian composer Peter Eötvös was premiered with a libretto by Albert Ostermaier in the National Theatre. Eötvös himself conducted the Bavarian State Orchestra. The Ukrainian artist couple Ilya and Emilia Kabakov designed the stage and Balázs Kovalik directed. Find out more about the work and the staging of that time in a contribution with Eötvös, Kovalik, Ostermaier and the Lucifer singer of the premiere Georg Nigl.

https://www.youtube.com/watch?v=MylAsq5_dy0

Photo credit: Wilfried Hösl

Photo credit: Archive of the Musikalische Akademie

Carl Orff’s opera Der Mond was premiered on February 5th, 1939 at the Bavarian State Opera under the musical direction of Clemens Krauss in a production by Rudolf Hartmann. The composer wrote the libretto himself and in doing so took over literal text passages from the fairy tale of the same name by the Brothers Grimm. Orff’s description of this “small world theater” is based on the three scenes of heaven, earth, underworld and the view of a little boy on it. Orff thought about his opera as “a thoughtful parable of the futility of human efforts to disturb the world order and at the same time a parable of being safe in this world order”. The composer himself described the music as his “farewell to romanticism”. Critics were enthusiastic, for example the musicologist Fred Hamel: “So you encounter a creation that has been desired for the opera stage for a long time […] It’s great how Orff’s music also fully expresses this power here the elementary means of rhythm and song form […] With this economy of means, Orff’s melodic invention is so powerful, his rhythmic imagination so inexhaustible, that they evoke a sheer abundance of changing impressions of pictorial power.”

Photo credit: Hanns Holdt

Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811

On January 29, 1781, Mozart’s “Dramma per musica in tre atti” premiered in Munich’s Hoftheater, today’s Cuvilliéstheater. The libretto is based on the tragédie lyrique of the same name by Antoine Danchet with music by André Campra and was written by the Salzburg chaplain Giambattista Varesco. Five years later, a version revised by Mozart was performed in Vienna.

In 1775 Mozart’s La finta giardiniera was premiered in Munich, and in 1780 the composer was commissioned by Karl Theodor, the Elector of Bavaria, to create an opera for Munich as the highlight of the carnival season. Mozart attended the rehearsals of both operas. Idomeneo was not finished until he was there, and so Mozart was able to take special account of the vocal possibilities of the singers. A correspondence between Mozart and his father Leopold provides information about the background to the creation of Idomeneo, in which the function of scenes and arias is also discussed.

Mozart Letters and Documents – Online Edition:
https://dme.mozarteum.at/DME/briefe/doclist.php

Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811

The first version of Engelbert Humperdinck’s fairy tale opera was premiered on January 23, 1897 in Munich’s Hoftheater under the musical direction of Hugo Röhr. After the success of Hänsel und Gretel four years earlier, the composer was looking for a text for a comic opera with a popular touch, which was ultimately provided by Elsa Agnes Bernstein, daughter of Humperdinck’s Munich friend Heinrich Porges.

In the years that followed, this melodrama version found its way onto the opera stages of Vienna, Prague, Berlin, Riga, London, Dublin and New York, but disappeared from the repertoire after 1902. The composer revised his melodrama into the through-composed version of the opera known today, for which the text was thoroughly reduced and simplified. Finally, in 1910, this second version was premiered at the Metropolitan Opera in New York.

Photo credit: Archiv Bayerische Staatsoper / Hof-Atelier Elvira München

On January 14th, 1823, the National Theater burned. Although the accident happened during a packed evening performance, nobody was hurt. Warm brewing water from the surrounding breweries was used to extinguish the fire, since the water used by the fire brigade froze in the syringes. The building could not be saved from the flames, but was reopened two years later.

Photo credit: Münchner Stadtmuseum, collection of graphics / paintings P-1134
Artist: unknown; Wolfgang Pulfer (repro)

Photo creddits: Archiv der Musikalischen Akademie

Photo Credit: Archiv der Musikalischen Akademie

Photo Credits: Archiv der Musikalischen Akademie

Photo creddit: Archiv der Musikalischen Akademie