Intermezzo - Premiere - Schedule, Program & Tickets
Intermezzo - Premiere
A bourgeois comedy with symphonic interludes in two acts
Libretto by the composer
First performance on November 4, 1924 at the Dresden theater
Premiere at the Deutsche Oper Berlin on April 25, 2024
recommended from 15 years
2 hours 45 minutes | A break
In German with German and English surtitles
Introduction: 45 minutes before the start of the performance in the foyer on the right
New opera material for a new era – not only the avant-gardists were looking for that in the 1920s. Old master Richard Strauss went even further and not only brought a story from modern life to the stage, but also, barely disguised, his own married life. The marital war between a successful conductor and his wife, triggered by a harmless misunderstanding, is the dominant theme of the comedy INTERMEZZO, which premiered in 1924.
But unlike “new toners” like Hindemith, Krenek and Schönberg, Strauss did not create a new musical language for his Zeitoper, but instead equipped his marital crisis story with an orchestral opulence that need not fear comparison with successful pieces such as DER ROSENKAVALIER and ARABELLA. And with the composer's wife Christine, he created another stage-dominating female character, in whose expansive Straussian vocal lines there is not only room for outbursts of temperament, but also room for the shadowy zones of unfulfilled longings.
Subject to change.
Libretto by the composer
First performance on November 4, 1924 at the Dresden theater
Premiere at the Deutsche Oper Berlin on April 25, 2024
recommended from 15 years
2 hours 45 minutes | A break
In German with German and English surtitles
Introduction: 45 minutes before the start of the performance in the foyer on the right
New opera material for a new era – not only the avant-gardists were looking for that in the 1920s. Old master Richard Strauss went even further and not only brought a story from modern life to the stage, but also, barely disguised, his own married life. The marital war between a successful conductor and his wife, triggered by a harmless misunderstanding, is the dominant theme of the comedy INTERMEZZO, which premiered in 1924.
But unlike “new toners” like Hindemith, Krenek and Schönberg, Strauss did not create a new musical language for his Zeitoper, but instead equipped his marital crisis story with an orchestral opulence that need not fear comparison with successful pieces such as DER ROSENKAVALIER and ARABELLA. And with the composer's wife Christine, he created another stage-dominating female character, in whose expansive Straussian vocal lines there is not only room for outbursts of temperament, but also room for the shadowy zones of unfulfilled longings.
Subject to change.
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