Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev12 wagner
Rev12b buschinger
Rev12c piontek
Rev12d gier
Rev12e abels
Rev12f tschorner
Rev12g stollberg
Rev12h pachl
Rev12i leblanc
Rev12j pappel
Rev12k nystrom
Rev12a preface

After their first performances, Wagner’s operas found their way to the German theatres of the Baltic provinces relatively fast. This article examines the role played by The Mastersingers in the reception of Wagner in the former Baltic Sea provinces of Russia, Estonia (which comprised only the northern part of today’s Estonia) and Livonia (today’s South Estonia and most of Latvia). It also focuses on the standards of first performances in Reval/Tallin and Riga. The theatre of Riga had made itself known with Wagner’s operas since the mid-1840s. However, it was only in the 1880s that a sustained tradition began in Reval, where Wagner was first brought to the stage in 1853. In Riga, The Mastersingers was performed for the first time in December 1871. The success of the performances gave new impetus to public interest in Wagner, and influenced the foundation of the Wagner-Society of Riga in 1877. A leading member was the lecturer Carl Friedrich Glasenapp, who published at that time his fist biography of Wagner. The Mastersingers was performed in Reval only 30 years later (1901), also successfully. An interesting document about performance practice at that time is the piano reduction specifically arranged for the Reval performances (now preserved in the Estonian Museum of Drama and Music), from which the conductor Théo Ritte-Schwarzwald conducted.


N° 12j

Richard Wagner, Die Meistersinger von Nürnberg

Kristell Pappel

Estnische Musik - und Theaterakademie (Tallinn)

Die Meistersinger von Nürnberg und Wagners Netzwerk in den Ostseeprovinzen Russlands


Danielle Buschinger
Danielle Buschinger - Der historische Meistersang

Frank Piontek
Frank Piontek - Zur verhinderten Nürnberger Uraufführungder

Albert Gier
Albert Gier - Komëdie als ideendrama

Norbert Abels
Norbert Abels - Hohn und Lohn

Sylvia Tschörner
Sylvia Tschörner - „Bliebst du im Paradies, / da gab es keinen Kies“

Arne Stollberg
Arne Stollberg - die „protestantische“ Musik der Meistersinger

Peter P. Pachl
Peter P. Pachl - Frühe Meistersinger-Rezeption

Cécile Leblanc
Cécile Leblanc - L'Ardoise de Beckmesser

Kristel Pappel
Kristel Pappel - Netzwerk in den Ostseeprovinzen Russlands

Esbjörn Nyström
Esbjörn Nyström - Zieltext als Dichtung?