Porgy And Bess Oper


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Porgy And Bess Oper

Das Opernhaus - Tickets, Infos, Bilder und Videos zu allen Produktionen und Veranstaltungen der VEREINIGTEN BÜHNEN WIEN im THEATER AN DER WIEN. Denn die Welt der tragischen Helden Porgy und Bess aus George Gershwins gleichnamiger Oper ist alles andere als einfach: In der Schwarzensiedlung Catfish. Mit der Komposition ist ihm ein Werk von Weltgeltung gelungen, eine der großen Volksopern der Geschichte. Die Aufführung dieser Oper ist mit.

THE GERSHWINS®’ PORGY AND BESS®

Porgy and Bess ist eine Oper in drei Akten von George Gershwin auf ein Libretto von DuBose Heyward. Die Liedtexte stammen von DuBose Heyward und. Denn die Welt der tragischen Helden Porgy und Bess aus George Gershwins gleichnamiger Oper ist alles andere als einfach: In der Schwarzensiedlung Catfish. Ein Welterfolg wird die Oper erst nach dem frühen Tod ihres Komponisten. Bei der Uraufführung in Boston ist " Porgy and Bess " eine.

Porgy And Bess Oper Navigation menu Video

PORGY AND BESS

A supremely American operatic masterpiece and the most ambitious work by one of the nation’s greatest musical talents, Porgy and Bess focuses on the joys and struggles of a black neighborhood in Charleston, South Carolina, in the early 20th century. The overall combination of music, word, and idea among a complex blend of Americana make this a unique and impressive work both within and beyond the operatic repertory. Porgy and Bess, dramatic folk opera in three acts by George Gershwin. Its English libretto was written by DuBose Heyward (with lyrics by Heyward and Ira Gershwin), based on Heyward’s novel Porgy (). The opera—which premiered at the Alvin Theatre in New York City on October 10, —is considered to be the first great American opera. Der Dirigent Joseph R. Olefirowicz spricht über die Bedeutung, die Hits und Charaktere der Oper "Porgy and Bess".Spielplan & Karten: littlebeetkids.com The disabled beggar Porgy arrives and is about to join the game when Crown and his partner Bess appear. The loudmouthed Crown joins the dice game. Drunk and high on drugs, he loses, starts a fight, and kills Robbins with a cotton hook. Before the police arrive, Crown runs off to hide, telling Bess that he’ll be back for her. Porgy and Bess (/ ˈpɔːrɡi /) is an English-language opera by American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin. It was adapted from Dorothy Heyward and DuBose Heyward's play Porgy, itself an adaptation of DuBose Heyward's novel of the same name.
Porgy And Bess Oper Porgy and Bess ist eine Oper in drei Akten von George Gershwin auf ein Libretto von DuBose Heyward. Die Liedtexte stammen von DuBose Heyward und Gershwins Bruder Ira. Die Oper schildert das Leben von Afroamerikanern in der Schwarzensiedlung. Porgy and Bess ist eine Oper in drei Akten von George Gershwin auf ein Libretto von DuBose Heyward. Die Liedtexte stammen von DuBose Heyward und. Das Opernhaus - Tickets, Infos, Bilder und Videos zu allen Produktionen und Veranstaltungen der VEREINIGTEN BÜHNEN WIEN im THEATER AN DER WIEN. Mit der Komposition ist ihm ein Werk von Weltgeltung gelungen, eine der großen Volksopern der Geschichte. Die Aufführung dieser Oper ist mit. Mit einem schönen Schlusseffekt beendet Gershwin dieses Stück: während die Singstimme das Schluss H hält, geht der Summ Chor in die Höhe. Handlung : In der Catfish Row. Orchester und Chor WDR Samsara WDR Rundfunkchor WDR Funkhausorchester WDR Big Band WDR Musikvermittlung.

Porgy watches the boat leave "I got plenty o' nuttin" reprise. The chorus enjoys themselves at the picnic "I ain't got no shame".

Sportin' Life presents the chorus his cynical views on the Bible " It Ain't Necessarily So " , causing Serena to chastise them "Shame on all you sinners!

Everyone gets ready to leave. As Bess, who has lagged behind, tries to follow them, Crown emerges from the bushes.

He reminds her that Porgy is "temporary" and laughs off her claims that she has been living decently now.

Bess wants to leave Crown forever and attempts to make him forget about her "Oh, what you want wid Bess? He grabs her and will not let her go to the boat, which leaves without her, and then forcefully kisses her.

He laughs at his conquest as her resistance begins to fail, and commands her to get into the woods, where his intentions are only too clear.

A week later, Jake leaves to go fishing with his crew, one of whom observes that it looks as if a storm is coming in.

Peter, still unsure of his crime, returns from prison. Meanwhile, Bess is lying in Porgy's room delirious with fever, which she has had ever since returning from Kittiwah Island.

Serena prays to remove Bess's affliction "Oh, Doctor Jesus" , and promises Porgy that Bess will be well by five o'clock. As the day passes, a strawberry woman, Peter the Honey Man and a crab man each pass by with their wares "Vendors' Trio".

As the clock chimes five, Bess recovers from her fever. Porgy tells Bess that he knows she has been with Crown, and she admits that Crown has promised to return for her.

Porgy tells her she is free to go if she wants to, and she tells him that although she wants to stay, she is afraid of Crown's hold on her.

Porgy asks her what would happen if there was no Crown, and Bess tells Porgy she loves him and begs him to protect her. Porgy promises that she will never have to be afraid again " I Loves You, Porgy ".

Clara watches the water, fearful for Jake. Maria tries to allay her fears, but suddenly the hurricane bell begins to ring.

The residents of Catfish Row are all gathered in Serena's room for shelter from the hurricane. They drown out the sound of the storm with prayers and hymns "Oh, Doctor Jesus" while Sportin' Life mocks their assumption that the storm is a signal of Judgment Day.

Clara desperately sings her lullaby "Summertime" [reprise]. A knock is heard at the door, and the chorus believes it to be Death "Oh there's somebody knocking at the door".

Crown enters dramatically, having swum from Kittiwah Island, seeking Bess. He shows no fear of God, claiming that after the long struggle from Kittiwah, God and he are friends.

The chorus tries to drown out his blaspheming with more prayer, and he taunts them by singing a vulgar song. Suddenly, Clara sees Jake's boat float past the window, upside-down, and she runs out to try to save him, handing her baby to Bess.

Bess asks that one of the men go out with her, and Crown taunts Porgy, who cannot go. Crown goes himself, yelling out as he leaves "Alright, Big Friend!

We're on for another Bout! A group of women mourn Clara, Jake, and all of those who have been killed in the storm "Clara, Clara, don't you be downhearted".

When they begin to mourn for Crown as well, Sportin' Life laughs at them and is told off by Maria. He insinuates that Crown may not be dead, and observes that when a woman has a man, maybe she's got him for keeps, but if she has two men, then it's highly likely she'll end up with none.

Bess is heard singing Clara's lullaby to her baby, whom she is now taking care of. Once Catfish Row is dark, Crown stealthily enters to claim Bess, but is confronted by Porgy.

A fight ensues that ends when Porgy kills Crown. Porgy exclaims to Bess, "You've got a man now. You've got Porgy!

The detective enters and talks with Serena and her friends about the murders of Crown and Robbins. They deny knowledge of Crown's murder, frustrating the detective.

Needing a witness for the coroner's inquest, he next questions an apprehensive Porgy. Once Porgy admits to knowing Crown, he is ordered to come and identify Crown's body.

Sportin' Life tells Porgy that corpses bleed in the presence of their murderers, and the detective will use this to hang Porgy. Porgy refuses to identify the body, but is dragged off anyway.

Bess is distraught, and Sportin' Life puts his plan into action. He tells her that Porgy will be locked up for a long time, and points out that he is the only one still here.

He offers her happy dust, and though she refuses, he forces it on her. After she takes a whiff, he paints a seductive picture of her life with him in New York "There's a boat dat's leavin' soon for New York".

She regains her strength and rushes inside, slamming the door on his face, but he leaves a packet of happy dust on her doorstep, and settles down to wait.

On a beautiful morning, Porgy is released from jail, where he has been arrested for contempt of court after refusing to look at Crown's body. He returns to Catfish Row much richer after playing craps with his cellmates.

He gives gifts to the residents, and pulls out a beautiful red dress for Bess. He does not understand why everyone seems so uneasy at his return.

He sees Clara's baby is now with Serena and realizes something is wrong. He asks where Bess is. Maria and Serena tell him that Bess has run off with Sportin' Life to New York "Oh Bess, Oh Where's my Bess?

Porgy calls for his goat cart, and resolves to leave Catfish Row to find her. He prays for strength, and begins his journey.

From the outset, the opera's depiction of African Americans attracted controversy. Virgil Thomson , a white American composer, stated that "Folklore subjects recounted by an outsider are only valid as long as the folk in question is unable to speak for itself, which is certainly not true of the American Negro in Ellington publicly repudiated the article shortly after its publication.

His telegram to the producer read: "Your Porgy and Bess the superbest, singing the gonest, acting the craziest, Gershwin the greatest.

A planned production by the Negro Repertory Company of Seattle in the late s, part of the Federal Theatre Project , was cancelled because actors were displeased with what they viewed as a racist portrayal of aspects of African-American life.

The director initially envisioned that they would perform the play in a " Negro dialect. Florence James attempted a compromise of dropping the use of dialect but the production was canceled.

Another production of Porgy and Bess , this time at the University of Minnesota in , ran into similar troubles. According to Barbara Cyrus, one of the few black students then at the university, members of the local African-American community saw the play as "detrimental to the race" and as a vehicle that promoted racist stereotypes.

The play was cancelled due to pressure from the African-American community, which saw their success as proof of the increasing political power of blacks in Minneapolis—Saint Paul.

The belief that Porgy and Bess was racist gained strength during the civil rights movement and Black Power movement of the s, s and s.

As these movements advanced, Porgy and Bess was seen as more and more out of date. When the play was revived in the s, social critic and African-American educator Harold Cruse called it, "The most incongruous, contradictory cultural symbol ever created in the Western World.

In the Houston Opera production, the director, Sherwin Goldman, had trouble finding interested performers.

Goldman, a white Texas native and a graduate of Yale and Oxford Universities, recalled, "I was auditioning singers all around the country, I guess thirty cities in all, from theater groups to church choirs, but was having a hard time finding directors I don't think there was a single black person, of those who had never been associated with Porgy, who didn't seriously bad-mouth it.

Gershwin's all-black opera was also unpopular with some celebrated black artists. Harry Belafonte declined to play Porgy in the late s film version, so the role went to Sidney Poitier.

Betty Allen, president of The Harlem School of the Arts , admittedly loathed the piece, and Grace Bumbry , who excelled in the Metropolitan Opera production as Bess, made the often cited statement:.

I thought it beneath me, I felt I had worked far too hard, that we had come far too far to have to retrogress to My way of dealing with it was to see that it was really a piece of Americana , of American history, whether we liked it or not.

Whether I sing it or not, it was still going to be there. Over time, however, the opera gained acceptance from the opera community and some though not all [46] in the African-American community.

Maurice Peress stated in that " Porgy and Bess belongs as much to the black singer-actors who bring it to life as it does to the Heywards and the Gershwins.

That Gershwin sought to write a true jazz opera, and that he believed that Metropolitan Opera staff singers could never master the jazz idiom, which could instead only be sung by a black cast, seems to indicate he did not intend the work to belittle African-Americans.

Some black singers were overjoyed at Gershwin's work, going so far as to describe him as the "Abraham Lincoln of Negro music".

Gershwin wrote Porgy through an idiom of jazz that was influenced by Western European opera traditions, African-American music, and Russian-Jewish music.

During the era of apartheid in South Africa , several South African theatre companies planned to put on all-white productions of Porgy and Bess.

Ira Gershwin , as heir to his brother, consistently refused to permit these productions to be staged. But in , Cape Town Opera 's production, set in s South Africa and inspired by life in Soweto , toured Britain, opening at the Wales Millennium Centre in Cardiff and going on to the Royal Festival Hall in London and Edinburgh Festival Theatre.

Most of the cast were black South Africans; American singers involved in the production have found the "passionate identification with the opera" by the South African singers "a wake-up call".

They're not thinking that you can still find places where this is real. And if we're not careful we could be right back there. While the opera was presented in the context of the Syrian migrant crisis moved from Catfish Row to an airport , the controversy of recasting continued.

While the Hungarian State Opera, in discussions with the Tams-Witmark Music Library originally agreed to the casting requirements, it ultimately declined to do so when the wording was not included in the written contract.

This production galvanized conservative commentators who lauded it as a success over "political correctness". Ultimately, Tams-Witmark required the Hungarian State Opera to include in its printed material that this production "is contrary to the requirements for the presentation of this work".

In the summer of , George Gershwin worked on the opera in Charleston, South Carolina. He drew inspiration from the James Island Gullah community, which he felt had preserved some African musical traditions.

This research added to the authenticity of his work. The music itself reflects his New York jazz roots, but also draws on southern black traditions.

Gershwin modeled the pieces after each type of folk song which the composer knew about; jubilees, blues , praying songs, street cries, work songs, and spirituals are blended with traditional arias and recitatives.

The most fundamental influences on the composition and orchestrations in evidence throughout Porgy and Bess , aside from those of American Jazz and Black religious music, are the European composers whose music Gershwin studied and absorbed during his tutelage with the likes of Edward Kilenyi , Rubin Goldmark , Charles Hambitzer , and Henry Cowell.

Some commenters have believed they heard simililarities to melodies heard in Jewish liturgical music in Gershwin's opera. Gershwin biographer Edward Jablonski heard a similarity between the melody of "It Ain't Necessarily So" and the Haftarah blessing , [55] while others hear similarities with Torah blessing.

The score makes use of a series of leitmotifs. Many of these represent individual characters: some of these are fragments of the opera's set numbers Sportin' Life, for example, is frequently represented by the melody which sets the title words of "It Ain't Necessarily So".

Other motifs represent objects such as the sleazy chromatic "Happy Dust" motif or places, notably Catfish Row.

Many of the through-composed passages of the score combine or develop these leitmotifs in order to reflect the on-stage action.

Particularly sophisticated uses of this techniques can be seen after the aria "There's a boat dat's leaving soon for New York" in act 3, scene 2.

The opera also frequently reprises its set numbers these might be considered extended Leitsektionen. Notable in this respect are the reprises of "Bess, you is my woman now" and "I got plenty o' nuttin' " which conclude act 2, scene 1.

The song " Summertime " is stated four times alone. The work is scored for two flutes second doubling piccolo , two oboes second doubling English horn , three clarinets in B-flat second and third doubling alto saxophones , one bass clarinet in B-flat doubling fourth clarinet and tenor saxophone , one bassoon ; three French horns in F, three trumpets in B-flat, one trombone , one bass trombone , one tuba ; a percussion section that includes timpani , xylophone , triangle , glockenspiel , suspended and crash cymbals , snare drum , tom-toms , bass drum , African drums, an unspecified small drum, tubular bells , wood block , temple blocks , cowbell, sandpaper and train whistle ; one piano ; and strings.

The and recordings of the opera won Grammy Awards for Best Opera Recording , making Porgy and Bess the only opera to win this award over two consecutive years.

Days after the Broadway premiere of Porgy and Bess with an all-black cast, two white opera singers, Lawrence Tibbett and Helen Jepson , both members of the Metropolitan Opera , recorded highlights of the opera in a New York sound studio, [60] released as Highlights from Porgy and Bess.

Members of the original cast were not recorded until , when Todd Duncan and Anne Brown recorded selections from the work. Two years later, when the first Broadway revival occurred, American Decca rushed other members of the cast into the recording studio to record other selections not recorded in These two albums were marketed as a two-volume 78 rpm set Selections from George Gershwin's Folk Opera Porgy and Bess.

Bess kehrt erst zwei Tage später erkrankt vom Picknick zurück und gesteht gegenüber Porgy ein, dass sie Crown nicht widerstehen kann.

Während eines Hurrikans taucht Crown auf, der Bess holen will. Crown schleicht sich in der Nacht zu Porgys Wohnung, um Bess zu entführen.

Porgy ersticht ihn hinterrücks. Von der Polizei wird Serena des Mordes beschuldigt, doch sie beteuert ihre Unschuld. Porgy weigert sich, die Leiche zu identifizieren, und wird daraufhin wegen Missachtung des Gesetzes eine Woche lang festgehalten.

Daraufhin verfällt Bess wieder dem Rauschgift und folgt Sporting Life nach New York. Bei seiner Rückkehr findet Porgy Bess nicht mehr und macht sich auf, sie in New York zu suchen.

Die Oper entstand — im Auftrag der Theatre Guild, obwohl Gershwin schon vom Roman Porgy von DuBose Heyward fasziniert war.

Dessen Frau Dorothy Heyward erstellte daraus eine Bühnenfassung für den Broadway, die erfolgreich aufgeführt wurde.

Für die Oper überarbeitete Hayward diese Fassung. Er kürzte sie um beinahe die Hälfte und ergänzte weitere Liedtexte. Einige davon stammen von Ira Gershwin , dem Bruder des Komponisten.

George Gershwin zog während des Sommers in der Nähe von Charleston auf Folly Island, um das Leben des Stammes der Gullah zu studieren, deren Dialekt im Libretto verwendet wird.

Nach der mit Begeisterung aufgenommenen Vorpremiere am Colonial Theatre in Boston am September hatte die Oper mit Todd Duncan und Anne Wiggins Brown in den Titelrollen am Oktober am New Yorker Alvin Theatre ihre Broadway -Premiere.

Da es damals nur wenige ausgebildete farbige Sänger gab, wurden auch Theater- und Nachtklub-Darsteller herangezogen.

Derzeit keine Tickets verfügbar Schauen Sie später noch einmal vorbei. Tragische Helden Die Sonne scheint, die Fische springen im Fluss, die Baumwolle ist reif — wie leicht könnte doch das Leben sein!

Gershwin verwendet für die Oper exotische Instrumente wie Banjo, Marimbaphon und Röhrenglocken, um die Farbigkeit des Orchesters zu erhöhen.

Die Musik ist, wie im Jazz üblich, geprägt von häufigen Taktwechseln, Jazzharmonik und Synkopen. Gershwin nutzte für diese Oper ausgiebig die Technik der Leitmotivik.

Verschiedenen Personen und Gegenständen hat er Leitmotive zugewiesen. In diesem Opernportrait haben Sie die Möglichkeit, eine Hand voll der Leitmotive kennenzulernen beispielsweise diejenigen von Porgy und Sportin life.

Eine Vor-Premiere fand im September in Boston statt. Die Premiere folgte wenig später im Alvin Theater in New York. Während die Bostoner Aufführung umjubelt wurde, wurde die Broadway Produktion nach Aufführung beendet, was unter Erwarten war und die Kosten nicht ganz deckte.

Einzelne Musiknummern wurden aber rasch populär, sodass Gershwin sie in einer Suite zusammenstellte um das Werk populär zu machen.

Die europäische Erstaufführung fand in Kopenhagen mit dänischen Sängern statt. Nach dem Krieg tourten schwarze Ensembles durch Europa und machten es populär darunter die berühmteste Produktion von mit Leontyne Price.

Handlung: Charleston in den zwanziger Jahren. Nun leben arme Schwarze in den heruntergekommenen Häusern. In einem Haus sind Paare am Tanzen und Jasbo Brown sitzt am Piano.

Eine funkelnde orchestrale Einleitung führt nach einer Minute in einen Blues, den Jasbo Brown auf einem verstimmten Klavier spielt.

Jasbo Brown war eine Blueslegende und Outsider aus New Orleans, der mit der Story eigentlich nichts zu tun hat.

Die Rhythmen haben eine Ähnlichkeit mit dem Leitmotiv von Crown. Handlung: Neben der Tanzfläche steht Clara, die Frau des Fischers Jake. Sie singt ihrem kleinen Sohn ein Wiegenlied.

Summertime ist eines der schönsten Lieder, welches Gershwin je komponierte. Um die Authentizität der Musik sicherzustellen, verbrachte Gershwin einige Zeit in den Südstaaten, komponierte für die Oper aber alle Stücke selbst und verwendete nach eigenen Aussagen keine Volkslieder.

Ob Gershwin das Stück kannte ist nicht bekannt, und so bleibt die Verwandtschaft Spekulation. Die berühmte Melodie ertönt, mit jazzigen Harmonien des Orchesters begleitet.

Als die Melodie wiederholt wird, setzt eine Solovioline und ein Summ-Chor der Frauen ein. Die Orchesterfarben werden immer reicher, schon bald stechen Englischhorn, Oboe und Flöte aus dem Orchester heraus.

Mit einem schönen Schlusseffekt beendet Gershwin dieses Stück: während die Singstimme das Schluss H hält, geht der Summ Chor in die Höhe.

Die Singstimme nutzt dieses langanhaltende H mit weiteren Effekten wie Oktavsprüngen und Glissandi. Man schätzt, dass es über Leontyne Price ist wahrscheinlich der Blueprint der Opern-Interpretation.

Sie war ein Teil der Besetzung der er Welt Tour, welches den weltweiten Durchbruch der Werks erzeugte.

Die Aufnahme stammt aus der späteren er RCA Aufnahme. Wir hören diese Interpretation mit Armstrongs Trompete in der ersten Strophe. Claras Kind bleibt unruhig und Jake versucht das Kind zu beruhigen.

Da trifft Porgy ein. Er ist ein Krüppel, dem die beiden Unterbeine fehlen und sich mit Hilfe eine kleinen Wagens bewegt.

Jemand erzählt, dass Crown bald komme. Als Porgy sich erkundigt, ob Bess bei Crown sei, wird er aufgezogen, ob er verliebt in sie sei.

In dieser Szene betritt Porgy zum ersten Mal die Bühne und es ertönt sein Leitmotiv im Tonbeispiel gleich zu Beginn von den Streichern gespielt.

Handlung: Der brutale Crown erscheint, begleitet von Bess. Die Leute mögen sie nicht, sie denken sie sei eine Hure. Porgy ist am Würfeln und beschwört sein Glück.

Crown mischt sich ins Würfelspiel ein. Er ist betrunken und provoziert die Spieler. Als er Robbins des Falschspiels bezichtigt, kommt es zu einem Handgemenge der beiden, bei dem er Robbins mit einem Baumwollhaken ersticht.

Crown flieht und lässt Bess zurück. Er wählte dazu die Form einer Fuge. Zu diesem Aspekt finden sie weiter unten beim Abschnitt zum Mord an Crown eine interessante Anekdote.

Handlung : Bald wird die Polizei auftauchen, und alle verschwinden in ihre Häuser, einzig Bess findet keinen Unterschlupf.

Niemand will sie aufnehmen. Da öffnet sich eine Tür und Porgy winkt ihr zu.

Three Preludes French Ballet Class InEstes and Leona Mitchell sang the leads in the third broadcast. La La Lucille Morris Gest Midnight Whirl George White's Scandals —, including Blue Monday Our Nell Maschinengewehr 0815 Rainbow Sweet Little Devil. Als die Leiche weg ist, stimmt Bess ein tröstendes Spiritual an. Notable in this respect are the reprises of "Bess, you is my woman now" and "I got plenty o' nuttin' " which conclude act 2, scene 1. Nach dem Krieg tourten schwarze Ensembles durch Europa und machten es populär darunter die berühmteste Produktion von mit Leontyne Price. Als ein Bussard vorbeifliegt, verdüstert sich Porgys Stimmung kurz, weil er den Vogel als Sharukh Khan Omen deutet. Smaller-scale productions also continue to be mounted. Sie Promi The Taste zu Porgy und verlangen von ihm, dass er die Leiche identifiziert. InAustralian-born composer Percy Graingerwho was an admirer, performer and arranger of Gershwin's music, completed a twenty-minute piece for two pianos titled Fantasy on George Gershwin's Porgy and Bess. Die Oper schildert das Leben von Afroamerikanern in der Schwarzensiedlung Catfish Row in Charleston um A complete recorded version of the score was released in ; since then, it has been recorded several times. Retrieved 3 September Porgy exclaims to Bess, Tv Programm Sport1 Heute got a man now.

Der Splatterboom begann Monster Bilder den 70er Jahren; manche Filme Porgy And Bess Oper in Deutschland wegen ihrer expliziten Gewaltdarstellung bis heute verboten. - Ihre Merkliste ist leer

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Porgy And Bess Oper

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