Die Frau ohne Schatten

The Emperorthe EmpressDie AmmeDie FarberinDyer's WifeEmpress/Kaiserin (Die Frau ohne Schatten)The NurseThe Woman without a Shadow
Die Frau ohne Schatten (The Woman without a Shadow), Op. 65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal.wikipedia
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Richard Strauss

StraussR. StraussStrauss, Richard
65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal.
This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933).

Hugo von Hofmannsthal

HofmannsthalHugo von HoffmannsthalEdle von Hofmannsthal
65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal.
He later wrote libretti for several of his operas, including Elektra (1909), Der Rosenkavalier (1911) with Harry von Kessler, Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933).

Maria Jeritza

Marie Jeritza
She created the roles of Blanchefleur in Kienzl's opera Der Kuhreigen (1911), Ariadne in Strauss's Ariadne auf Naxos (1912), the Empress in his Die Frau ohne Schatten (1919), and Hariette/Juliette in Korngold's Die tote Stadt (Hamburg, 1920), though later became famous for her leading role of Marietta/Marie in the same opera in its January 1921 Vienna premiere, which was also the role in which she debuted at the Metropolitan Opera on 19 November 1921.

Lotte Lehmann

Lotte LehmanLotte Lehmann Theater
She created roles in the world premieres of a number of operas by Richard Strauss, including the Composer in Ariadne auf Naxos in 1916 (later she sang the title-role in this opera), the Dyer's Wife in Die Frau ohne Schatten in 1919 and Christine in Intermezzo in 1924.

Richard Mayr

He notably created the role of Barak, the Dyer in the world premiere of Strauss's Die Frau ohne Schatten.

Karl Aagard Østvig

With that company he performed the role of the Emperor in the world premiere of Richard Strauss’s Die Frau ohne Schatten opposite Maria Jeritza as the Empress.

Soprano

operatic sopranosoprano vocalssoprano singer
The opera's story is set in the mythical empire of the Southeastern Islands and involves five principal characters: the Emperor (tenor), the Empress (soprano), her Nurse (mezzo-soprano), Barak, a lowly dyer (bass-baritone), and the Dyer's Wife (dramatic soprano).
Within opera, the lowest demanded note for sopranos is F 3 (from Richard Strauss's Die Frau ohne Schatten ).

Felicie Huni-Mihacsek

Felicie Hüni-Mihacsek
She made her debut at the Vienna State Opera in 1919, where she took part in the creation of Richard Strauss's Die Frau ohne Schatten.

Basset horn

basset-hornBassett hornbasset horns
62 (1824) Antonín Dvořák attempted a half-hearted revival, using the instrument in his Czech Suite (1879), in which he specifies that an English horn (cor anglais) may be used instead, but the instrument was largely abandoned until Richard Strauss took it up once more in his operas Elektra (1909), Der Rosenkavalier, Die Frau ohne Schatten, Daphne, Die Liebe der Danae, and Capriccio, and several later works, including two wind sonatinas (Happy Workshop and Invalid's Workshop).

Anton Arnold

In 1919 Arnold created the figure of the Hunchback in the world premiere of Strauss' Die Frau ohne Schatten.

Dramatic soprano

dramaticWagnerian soprano Dramatic
The opera's story is set in the mythical empire of the Southeastern Islands and involves five principal characters: the Emperor (tenor), the Empress (soprano), her Nurse (mezzo-soprano), Barak, a lowly dyer (bass-baritone), and the Dyer's Wife (dramatic soprano).

Glass harmonica

Armonicaglass armonicaarmonicista
Richard Strauss used the instrument in his 1917 Die Frau ohne Schatten.

Lucie Weidt

The following year she created the role of the Nurse in Die Frau ohne Schatten for the same company.

Celesta

celesteceleste keyboards
The celesta is used in many 20th-century opera scores, including Giacomo Puccini's Tosca (1900) and liberally throughout his Turandot (1924), Maurice Ravel's L'heure espagnole (1911) and L'enfant et les sortilèges (1925), Richard Strauss's Ariadne auf Naxos (1912), and Die Frau ohne Schatten (1918), while "an excellent example of its beauty when well employed", is the Silver Rose scene in his Der Rosenkavalier (1911), Ferruccio Busoni's Arlecchino (1917) and Doktor Faust (1925), Carl Orff's Carmina Burana (1936) and Der Mond (1939), Gian Carlo Menotti's Amelia Goes to the Ball (1937), Benjamin Britten's The Turn of the Screw (1954) and A Midsummer Night's Dream (1960), Conrad Susa's Transformations (1973), and Philip Glass' Akhnaten (1984).

The Woman Who Had No Shadow

For the name of the opera, see The Woman Who Had No Shadow.
Die Frau ohne Schatten by Hugo von Hofmannsthal and Richard Strauss is loosely based on this tale.

Opera

opera singeroperasoperatic
65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal.

Libretto

librettistlibrettibook
65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal.

Vienna

Vienna, AustriaWienViennese
When it premiered in Vienna on 10 October 1919, critics and audiences were unenthusiastic.

Johann Wolfgang von Goethe

GoetheJohann Wolfgang GoetheJohann von Goethe
Hofmannsthal’s earliest sketches for the libretto are based on a piece by Goethe, "The Conversation of German Emigrants" (1795).

One Thousand and One Nights

Arabian NightsThe Arabian NightsThe Book of One Thousand and One Nights
Hofmannsthal also drew on portions of The Arabian Nights, Grimms' Fairy Tales, and even quotes Goethe's Faust.

Grimms' Fairy Tales

Grimm's Fairy TalesChildren's and Household TalesKinder- und Hausmärchen
Hofmannsthal also drew on portions of The Arabian Nights, Grimms' Fairy Tales, and even quotes Goethe's Faust.

Goethe's Faust

FaustGoethe's ''FaustUrfaust
Hofmannsthal also drew on portions of The Arabian Nights, Grimms' Fairy Tales, and even quotes Goethe's Faust.

Fairy tale

fairy talesfairy-talefairytale
The opera is conceived as a fairy tale on the theme of love blessed through the birth of children.