Adelheit von Veltheim - Revision history

JDWpianist: /* Overview */

2023-11-30T08:59:39Z

Overview

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	The libretto is often compared to Christoph Friedrich Bretzner's near-contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both begin with exactly the same set, with a view of the sea through a large iron gate. Both deal with European women held as slaves in Middle Eastern harems, who then are saved by their European fiancés. Both contrast the despotism of the Orient with the supposedly Enlightened West, only to turn the tables with a surprising act of mercy in the final scene. The differences are nevertheless instructive. Großmann's libretto, which preceded Bretzner's, has a much larger cast of characters and places far greater emphasis on spoken dialogue. The printed libretto is approximately twice as long as that of ''Die Entführung''. The Bassa's harem includes several other abductees of various European backgrounds – along with the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr.		The libretto is often compared to Christoph Friedrich Bretzner's near-contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both begin with exactly the same set, with a view of the sea through a large iron gate. Both deal with European women held as slaves in Middle Eastern harems, who then are saved by their European fiancés. Both contrast the despotism of the Orient with the supposedly Enlightened West, only to turn the tables with a surprising act of mercy by the Bassa/Pasha in the final scene. The differences are nevertheless instructive. Großmann's libretto, which preceded Bretzner's, has a much larger cast of characters and places far greater emphasis on spoken dialogue. The printed libretto is approximately twice as long as that of ''Die Entführung''. The Bassa's harem includes several other abductees of various European backgrounds – along with the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr.

	==Sources==		==Sources==

JDWpianist at 09:58, 3 August 2023

2023-08-03T09:58:27Z

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	{{Composition		{{Composition
	\|Composition:Composer=Christian Gottlob Neefe		\|Composition:Composer=Christian Gottlob Neefe
	\|Composition:Title='Adelheit von Veltheim'		\|Composition:Title=Adelheit von Veltheim
	\|Composition:CatalogNr=SeiN 10		\|Composition:CatalogNr=SeiN 10
	\|Composition:Description=''Schauspiel mit Gesang'', premiered in Frankfurt am Main, 23 September 1780		\|Composition:Description=''Schauspiel mit Gesang'', premiered in Frankfurt am Main, 23 September 1780

JDWpianist at 09:56, 3 August 2023

2023-08-03T09:56:23Z

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	==Overview==		==Overview==
	[[Christian Gottlob Neefe\|Neefe]] and Großmann wrote this extensive four-act ''Singspiel'' for their troupe's guest season at the 1780 Autumn Fair at Frankfurt's Theater in der Junghof, their second short residence that year. In its first performance at the Bonn court a few weeks later, ''Adelheit'' was given pride of place on 11 October during the pomp around Archduke Maximilian Franz's election as Coadjutor (i.e. Maximilian Friedrich's successor as Elector of Cologne). The Archduke was duly impressed, and "honored Großmann with a precious gold watch and 50 new ''Louis d'or'' to divide among the company."<ref>''Theater-Journal für Deutschland'', no. 20, p. 16</ref>)		[[Christian Gottlob Neefe\|Neefe]] and Großmann wrote this extensive four-act ''Singspiel'' for their troupe's guest season at the 1780 Autumn Fair at Frankfurt's Theater in der Junghof, their second short residence that year. In its first performance at the Bonn court a few weeks later, ''Adelheit'' was given pride of place on 11 October during the pomp around Archduke Maximilian Franz's election as Coadjutor (i.e. Maximilian Friedrich's successor as Elector of Cologne). The Archduke was duly impressed, and "honored Großmann with a precious gold watch and 50 new ''Louis d'or'' to divide among the company."<ref>''Theater-Journal für Deutschland'', no. 20, p. 16</ref>

	The ''dramatis personae'', and the actors and singers from Großmann's company who created the roles,<ref>A copy of playbill is reproduced in Albert Richard Mohr, ''Das Frankfurter Mozart-Buch. Ein Beitrag zur Mozartforschung'' (Frankfurt: Kramer, 1968), p. 60. Only the last names of the performers are given. The remaining details have been filled in by comparison with the roster of Großmann's company printed in Reichart's ''Theater-Kalender, auf das Jahr 1782'', pp. 202–217</ref> are as follows:		The ''dramatis personae'', and the actors and singers from Großmann's company who created the roles,<ref>A copy of playbill is reproduced in Albert Richard Mohr, ''Das Frankfurter Mozart-Buch. Ein Beitrag zur Mozartforschung'' (Frankfurt: Kramer, 1968), p. 60. Only the last names of the performers are given. The remaining details have been filled in by comparison with the roster of Großmann's company printed in Reichart's ''Theater-Kalender, auf das Jahr 1782'', pp. 202–217</ref> are as follows:

JDWpianist at 09:55, 3 August 2023

2023-08-03T09:55:50Z

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	==Overview==		==Overview==
	[[Christian Gottlob Neefe\|Neefe]] and Großmann wrote this extensive four-act ''Singspiel'' for their troupe's guest season at the 1780 Autumn Fair at Frankfurt's Theater in der Junghof, their second short residence that year. In its first performance at the Bonn court a few weeks later, ''Adelheit'' was given pride of place on 11 October during the pomp around Archduke Maximilian Franz's election as Coadjutor (i.e. Maximilian Friedrich's successor as Elector of Cologne). The Archduke was duly impressed, and "honored Großmann with a precious gold watch and 50 new ''Louis d'or'' to divide among the company."~~(footnote:~~ <ref>''Theater-Journal für Deutschland'', no. 20, p. 16</ref>)		[[Christian Gottlob Neefe\|Neefe]] and Großmann wrote this extensive four-act ''Singspiel'' for their troupe's guest season at the 1780 Autumn Fair at Frankfurt's Theater in der Junghof, their second short residence that year. In its first performance at the Bonn court a few weeks later, ''Adelheit'' was given pride of place on 11 October during the pomp around Archduke Maximilian Franz's election as Coadjutor (i.e. Maximilian Friedrich's successor as Elector of Cologne). The Archduke was duly impressed, and "honored Großmann with a precious gold watch and 50 new ''Louis d'or'' to divide among the company."<ref>''Theater-Journal für Deutschland'', no. 20, p. 16</ref>)

	The ''dramatis personae'', and the actors and singers from Großmann's company who created the roles,~~(footnote:~~ <ref>A copy of playbill is reproduced in Albert Richard Mohr, ''Das Frankfurter Mozart-Buch. Ein Beitrag zur Mozartforschung'' (Frankfurt: Kramer, 1968), p. 60. Only the last names of the performers are given. The remaining details have been filled in by comparison with the roster of Großmann's company printed in Reichart's ''Theater-Kalender, auf das Jahr 1782'', pp. 202–217</ref>) are as follows:		The ''dramatis personae'', and the actors and singers from Großmann's company who created the roles,<ref>A copy of playbill is reproduced in Albert Richard Mohr, ''Das Frankfurter Mozart-Buch. Ein Beitrag zur Mozartforschung'' (Frankfurt: Kramer, 1968), p. 60. Only the last names of the performers are given. The remaining details have been filled in by comparison with the roster of Großmann's company printed in Reichart's ''Theater-Kalender, auf das Jahr 1782'', pp. 202–217</ref> are as follows:

	{\|\| class="wikitable"		{\|\| class="wikitable"

Admin: /* Notes */

2023-08-03T08:16:54Z

Notes

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	==Notes==		==Notes==
	<references />		<references responsive="0" />

Admin: /* Notes */

2023-08-03T08:16:37Z

Notes

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	==Notes==		==Notes==
	<references ~~responsive="0"~~ />		<references />

Admin: /* Notes */

2023-08-03T08:16:22Z

Notes

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	==Notes==		==Notes==
	<references />		<references responsive="0" />

JDWpianist: /* Overview */

2023-07-12T10:52:16Z

Overview

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	{\|\| class="wikitable"		{\|\| class="wikitable"
	\|-		\|-
	! Role !! Premiere Cast		! Role !! Voice Type !! Premiere Cast
	\|-		\|-
	\| Achmet, ''Bassa of Tunis'' \|\| Heinrich Christian Pleißner		\| Achmet, ''Bassa of Tunis'' \|\| Tenor \|\| Heinrich Christian Pleißner
	\|-		\|-
	\| Adelheit von Veltheim, ''a German woman'' \|\| Anna Christiane Josephi		\| Adelheit von Veltheim, ''a German woman'' \|\| Soprano \|\| Anna Christiane Josephi
	\|-		\|-
	\| Signora Olivia, ''an Italian woman'' \|\| Susanna Neefe		\| Signora Olivia, ''an Italian woman'' \|\| Soprano \|\| Susanna Neefe
	\|-		\|-
	\| Donna Velaska, ''a Spanish woman'' \|\| Maria Franziska Helmuth		\| Donna Velaska, ''a Spanish woman'' \|\| Soprano \|\| Maria Franziska Helmuth
	\|-		\|-
	\| Miss Flovr, ''an English woman'' \|\| Henriette Huber		\| Miss Flovr, ''an English woman'' \|\| Soprano \|\| Henriette Huber
	\|-		\|-
	\| Demoiselle La Feuquiere, ''a French woman'' \|\| Christiane Brandt		\| Demoiselle La Feuquiere, ''a French woman'' \|\| Spoken \|\| Christiane Brandt
	\|-		\|-
	\| Mehmet, ''overseer of the Seraglio'' \|\| Johann Friedrich Helmuth		\| Mehmet, ''overseer of the Seraglio'' \|\| Bass \|\| Johann Friedrich Helmuth
	\|-		\|-
	\| Franz von Veltheim \|\| Gustav Friedrich Wilhelm Großmann		\| Franz von Veltheim \|\| Spoken \|\| Gustav Friedrich Wilhelm Großmann
	\|-		\|-
	\| Karl von Bingen, ''under the name Osman'' \|\| Franz Brandt		\| Karl von Bingen, ''under the name Osman'' \|\| Spoken \|\| Franz Brandt
	\|-		\|-
	\| Adolph von Posen<ref>This character does not appear in any printed libretto books after the premiere.</ref> \|\| Anton Steiger		\| Adolph von Posen<ref>This character does not appear in any printed libretto books after the premiere.</ref> \|\| Spoken \|\| Anton Steiger
	\|-		\|-
	\| Turkish Women of the Seraglio, White and <br> Black Slaves, Janissaries, German Knights \|\| unnamed <br>		\| Turkish Women of the Seraglio, White and <br> Black Slaves, Janissaries, German Knights \|\| SATB \|\| unnamed <br>
	\|}		\|}

JDWpianist: /* Sources */

2023-07-03T18:09:00Z

Sources

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	* Leipzig: Dyck, 1781: [https://mdz-nbn-resolving.de/details:bsb00055005 Munich, Bayerische Staatsbibliothek, Slg.Her 1825]; and [https://www.loc.gov/item/2010663902/ Washington, Library of Congress, ML 48 <nowiki>[</nowiki>S7068<nowiki>]</nowiki>]		* Leipzig: Dyck, 1781: [https://mdz-nbn-resolving.de/details:bsb00055005 Munich, Bayerische Staatsbibliothek, Slg.Her 1825]; and [https://www.loc.gov/item/2010663902/ Washington, Library of Congress, ML 48 <nowiki>[</nowiki>S7068<nowiki>]</nowiki>]
	* Cologne: Imhof, 1784: [http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10109776-3 Munich, Bayerische Staatsbibliothek, P.o.germ. 524]		* Cologne: Imhof, 1784: [http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10109776-3 Munich, Bayerische Staatsbibliothek, P.o.germ. 524]

			Music:
			* Vienna, Gesellschaft der Musikfreunde, IV 24461 (H 29052)
			** Undated fair copy of the full score in four volumes (135, 114, 175, 57 pp.), most likely fully, or at least partially, in Neefe's hand. The vocal text clearly is by him, and most of the characteristics of the musical text match his handwriting as well, especially the idiosyncratic C-Clef and Bass Clef. Instrument names, tempo indications, time signatures, and rests are far more carefully drawn than in other known autographs, but this could well be the result of the score's evident origin as a commercial copy. The title page of the 1781 libretto notes that Neefe's score, "sauber geschrieben," can be bought from the publisher for 8 Louis d'or.
			* Hamburg, Staats- und Universitätsbibliothek Carl von Ossietzky, ND VII 285
			**

	==Further Reading==		==Further Reading==

JDWpianist: /* Overview */

2023-07-03T11:46:00Z

Overview

← Older revision		Revision as of 13:46, 3 July 2023
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	The libretto is often compared to Christoph Friedrich Bretzner's near-contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both begin with exactly the same set, with a view of the sea through a large iron gate. Both deal with European women held ~~captive~~ in Middle Eastern harems, who then are saved by their European fiancés. Both contrast the despotism of the Orient with the supposedly Enlightened West, only to turn the tables with a surprising act of mercy in the final scene. The differences are nevertheless instructive. Großmann's libretto, which preceded Bretzner's, has a much larger cast of characters and places far greater emphasis on spoken dialogue. The printed libretto is approximately twice as long as that of ''Die Entführung''. The Bassa's harem includes several other abductees of various European backgrounds – along with the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr.		The libretto is often compared to Christoph Friedrich Bretzner's near-contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both begin with exactly the same set, with a view of the sea through a large iron gate. Both deal with European women held as slaves in Middle Eastern harems, who then are saved by their European fiancés. Both contrast the despotism of the Orient with the supposedly Enlightened West, only to turn the tables with a surprising act of mercy in the final scene. The differences are nevertheless instructive. Großmann's libretto, which preceded Bretzner's, has a much larger cast of characters and places far greater emphasis on spoken dialogue. The printed libretto is approximately twice as long as that of ''Die Entführung''. The Bassa's harem includes several other abductees of various European backgrounds – along with the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr.

	==Sources==		==Sources==