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31:
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407:, where he worked for eleven consecutive summers, while continuing in his post at the Vienna State Opera. His career flourished despite rising political unrest in Austria. By the summer of 1938, however, the Festival was firmly under Nazi control. Productions by Wallerstein, Herbert Graf, and Margaret Wallmannâall regarded as "non-Aryans"âwere replaced by productions that were regarded as "racially pure" and presented in the newly reconstructed
226:
381:. Wallerstein translated it from Italian into German prose and then sent it to Strauss for his additions and retractions. The two exchanged revisions through the mail between Strauss's residence in Garmisch to Wallerstein in Vienna. A Strauss letter to Wallerstein illustrates the manner of collaboration: âIn eight days I will be finished with the complete
346:, a well-known opera singer of the time, noted that Wallerstein brought much-needed breath of fresh air to the Viennese opera. As director, he willingly agreed to continue the reformist course Krauss had set in Frankfurt. During Wallersteinâs years at the Vienna State Opera (1927â1938), he directed seventy-five new productions, as well as many old ones.
538:
School and Hunter
College Opera Workshop with Joseph Reitler and Fritz Stiedry as well as (what was then) the Metropolitan Opera University. He also staged operatic scenes for the National Concert and Artists Associationâs tour of the Metropolitan Opera Ensemble with Novotna, Glaz, Jobin and Singher.
537:
While working at the Met, Wallerstein also accepted guest engagements with opera companies in
Chicago, Detroit, Rio de Janeiro, and Canada. He taught acting courses in the studios of C. Beeson Fry and Estelle Liebling and for the Griffith Music Foundation with Cesare Sodero, for the Mannes Music
341:
Wallerstein applied his interest in new acting and staging techniques in a collaboration with Krauss, who joined him in Vienna as conductor and brought new singers to the company. Since the directors were expected to innovate, he was free to implement his new techniques of stagecraft in lighting,
333:
was then its sole conductor. From 1919 to 1924, Schalk had shared the conductorship with
Richard Strauss, serving as co-conductors until 1924 when Strauss resigned. Five years later, in 1929, Clemens Krauss was appointed Director. There Krauss conducted and Wallerstein produced
243:
Wallerstein was operatic director and stage manager in Posen, Germany, from 1910-1914. With the outbreak of World War I, he returned to medicine, serving as a surgeon in the Austro-Hungarian army on both the
Russian and Italian fronts. When the war ended, he was invited to
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of Milan, and the Maggio
Musicale Fiorentino. At this time, conditions in the wake of World War II were bleak. Since the State Opera itself had been razed by Allied bombing, he directed performances at the Volksoperaâthe first postwar
774:
458:
and, also, at the
Conservatory in Amsterdam. When Germany invaded the Netherlands in May 1940, he continued to work until he was dismissed for religious reasons. At that point, he escaped Europe to the United States.
248:, as chief stage director of the Breslau City Theater. From 1922 to 1924, he held the same position at Duisburg where a new theater with updated stage technology gave him more artistic flexibility with set designs.
233:
From 1908 to 1910, Wallerstein worked as a pianist and director at the royal court theater in
Dresden. There he met Richard Strauss and played an off-stage piano in the third act of the world premiere of
385:(score and everything) and I would ask you to quickly finish the text part of all the arias. So, when I send you the score in a week, the text can be inserted." Their revision of Mozartâs
131:(6 November 1882 â 14 November 1949) was Czech-born musician and conductor of Austrian descent who became a U.S citizen in 1945, four years before his death. He was a stage manager at the
551:
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At the State Opera in Vienna, where
Wallerstein continued working during the winters, he evaded an arrest by the Gestapo and fled to Italy where he already had contracts with
1391:
467:
While in the United States, Wallerstein found work with the
Metropolitan Opera and companies in other cities. He returned to Europe with the conclusion of World War II.
505:
that âThe stage direction was expert and imaginative." During
Wallersteinâs years at the Met, he directed 28 operas primarily with the conductors, Erich Leinsdorf,
489:
described Wallerstein's charm and accomplishments after his arrival in New York City in search of work, initially without English or funds. In that year he joined the
446:
Wallerstein then traveled to Amsterdam to join his colleague, Bruno Walter, who had found both political refuge and artistic work. Walter was preparing to conduct
550:
trials began, Wallerstein became a citizen of the United States. Despite his enthusiasm for American life, Wallerstein was drawn back to Europe. The Netherlands
501:. By the next month, he had directed three more operas and began receiving critical attention from American reviewers such as Oscar Thompson who wrote in
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built by Mussolini. Because of its sizeâ155 feet (47 m) wideâhe could showcase his expertise in staging mass operatic scenes, such as the bridal scene
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In 1946, Wallerstein settled in The Hague where more opportunities opened for him. He accepted contracts with the Vienna State Opera,
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Reiniger) as one of six children in a Jewish family devoted to music. He studied medicine, art and music at the universities of
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in Florence. Both contracts, however, were cancelled by Nazi Germany's crackdown on every aspect of Italian life.
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He married Maria Strug in New York in 1944. Strug was a mezzo-soprano, who had studied voice at Hunter College.
153:. He emigrated to New York City in 1940 to evade the rise of Nazi influences in Austria, followed by the
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165:, he returned to Europe, where he taught acting classes for singers, and founded an opera school in
143:. He became stage director of the Vienna State Opera in 1926, where in 1931 he collaborated with
119:
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with the entire Vienna Opera), he also continued his work at the Royal Conservatory of The Hague.
1313:(in German). Vol. 57. Druck und Kommissionverlag F.A. GĂŒnther & Sohn. 1949. p. 427.
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Wallersteinâs successes as guest director led to his appointment as chief stage director of the
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invited him to take over opera classes in the Royal Conservatories of The Hague and Amsterdam.
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as principals. He was invited back to Vienna to stage their premier performance of Pucciniâs
236:
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913:(1 ed.). Cambridge, United Kingdom: Cambridge University Press. pp. 256 & 451.
691:
Handbuch österreichischer Autorinnen und Autoren jĂŒdischer Herkunft 18. bis 20. Jahrhundert
211:
Wallerstein died of a heart attack shortly after the final rehearsal of Richard Straussâs
614:. As Wallerstein continued alternating guest performances in London (where he performed
498:
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182:
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775:"Director of Diverse Opera Stages; Lothar Wallerstein, Who Has Worked in Many Theatres"
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resulted in a new production at the Vienna State Opera, conducted by Strauss himself.
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1285:"Vorstellungen mit Lothar Wallerstein | Spielplanarchiv der Wiener Staatsoper"
1028:. Gilliam, Bryan Randolph. Princeton, N.J.: Princeton University Press. 1992.
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245:
513:. Appearing in these performances were many well known artists of their day:
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80:
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There's Music in These Walls: A History of the Royal Conservatory of Music
563:
373:
In 1931, Strauss enlisted Wallersteinâs assistance in up-dating Mozartâs
366:
313:
149:
697:. Edited by the Ăsterreichische Nationalbibliothek. Saur, MĂŒnchen 2002,
493:
as a senior stage director. His debut was on January 9 with the opera,
454:. During Wallersteinâs tenure in Holland, he was named professor at the
364:
and Wallerstein, subsequent to their collaborative revision of Mozart's
378:
1372:
Jewish emigrants from Austria after the Anschluss to the United States
598:
During the 1946 Summer Festival in Milan, he produced the staging for
827:. Cambridge, United Kingdom: Cambridge University Press. p. 93.
661:
Orpheus im Exil. Die Vertreibung der österreichischen Musik 1938â1945
628:
178:
54:
853:
Sonnwald, Leo (22 October 1969). "In Memory of Lothar Wallerstein".
645:
Götz Klaus Kende: "Zur Erinnerung an Lothar Wallerstein (1882â1949).
186:
474:
356:
224:
962:(1 ed.). Toronto, Ontario: Macmillan. pp. 49, 154, 209.
1202:. Vol. 23. University of Michigan. Spring 1990. p. 34.
975:
The Twisted Muse: Musicians and their music in the Third Reich
256:
In 1926, The Vienna State Opera invited Wallerstein to stage
1100:. New York: American Book-Stratford Press, Inc. p. 112.
689:
Susanne Blumesberger, Michael Doppelhofer, Gabriele Mauthe:
342:
staging and directing the movements of the cast on stage.
281:
From 1927 to 1930, Wallerstein taught opera classes at the
16:
Austrian-American musician, conductor, and theatre director
1341:
Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit
977:(1 ed.). New York: Oxford. pp. 47 & 327.
1113:"Lohengrin {446} Metropolitan Opera House: 01/9/1942"
411:. Among Jewish artists exiled from the Festival were
626:
The Austrian government gave Wallerstein the title,
35:
Richard Strauss and Lothar Wallerstein, April 8 1932
112:
104:
96:
88:
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40:
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676:Das Atlantisbuch der Dirigenten. Eine EnzyklopÀdie
546:In 1945, the same year World War II ended and the
1165:Hollywood Diva: A Biography of Jeanette MacDonald
311:, who conducted Wallerstein's 1927 production of
1407:Ludwig Maximilian University of Munich alumni
663:. Verlag fĂŒr Gesellschaftskritik, Wien 1995,
177:Wallerstein was born on November 6, 1882, in
8:
1169:. University of California Press. pp.
1075:. New York: NNorton & Co. p. 690.
886:. Spain: Tandem Verlag GmbH. p. 484.
751:"Dr. L. Wallerstein, Opera Official, 68",
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240:at the Dresden Opera on January 26, 1911.
161:where he had sought refuge. At the end of
29:
18:
1392:Emigrants from Austria-Hungary to Germany
1330:Katalog der deutschen Nationalbibliothek
552:Ministry of Education, Arts and Sciences
397:From 1926 to 1938, Wallerstein also was
715:
634:Die Heiligen drei Könige aus Morgenland
1049:
910:Richard Strauss: Man, Musician, enigma
869:The Concise Oxford Dictionary of Music
297:. At the same time, he was appointed
217:in New Orleans, on November 14, 1949.
1272:. Vol. 141â2. 1950. p. 115.
289:âa school noted for such teachers as
157:, and the subsequent invasion of the
7:
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450:and invited Wallerstein on board as
393:Arrival of Nazi influence in Austria
377:, based on the original libretto by
1243:Lotfi Mansouri: An Operatic Journey
884:Opera: Composers, Works, Performers
659:, Gerhard Scheit, Wilhelm Svoboda:
1269:The Music Magazine/Musical Courier
427:, Elsa Kurzbauer and Wallerstein.
14:
1161:Turk, Edward Baron (1998-11-01).
1138:"The Metropolitan Opera Archives"
1073:Toscanini: Musician of Conscience
678:. Atlantis, ZĂŒrich 1986, S. 375,
479:Original Metropolitan Opera house
155:German annexation of that country
773:Parmenter, Ross (June 1, 1941).
118:
960:Five Operas and Richard Strauss
947:. BrĂŒder Rosenbaum. p. 74.
456:Royal Conservatory of The Hague
307:. There he met the impresario,
1387:Austro-Hungarian Army officers
1142:Metropolitan Opera Association
1117:Metropolitan Opera Association
1:
1026:Richard Strauss and his world
882:Betta and Neef, Eds. (2005).
800:"Family tree of Maria Strug"
1289:archiv.wiener-staatsoper.at
825:The Life of Richard Strauss
573:followed by productions of
1433:
1185:Wallerstein Chicago opera.
441:Maggio Musicale Fiorentino
1402:Jewish American musicians
1397:Charles University alumni
1377:Austrian military doctors
1310:Deutsches BĂŒhnen-Jahrbuch
1004:. Yale University Press.
941:Kralik, Heinrich (1955).
907:Kennedy, Michael (1999).
117:
28:
1382:Austrian opera directors
1367:American opera directors
1240:Mansouri, Lotfi (2010).
1219:. Dundurn. p. 102.
1096:Geissmar, Berta (1946).
185:, to Moritz and Bertha (
973:Kater, Michael (1997).
823:Gilliam, Bryan (1999).
651:Richard Strauss-BlÀtter
483:A June 1941 article in
147:in re-writing Mozartâs
1213:Schabas, Ezra (2005).
1071:Sachs, Harvey (2017).
1056:: CS1 maint: others (
958:Lehman, Lotte (1964).
944:The Vienna Opera House
480:
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230:
229:The Vienna State Opera
1417:Musicians from Vienna
1412:Musicians from Prague
1246:. UPNE. p. 109.
674:Stefan Jaeger (ed.):
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295:Engelbert Humperdinck
228:
199:Diplome de Virtuosite
1001:Mozart and the Nazis
653:. 8 (1982), S. 6â10.
92:United States (1945)
1098:Two Worlds of Music
998:Levi, Erik (2011).
608:Palazzo dello Sport
278:in the title role.
203:Geneva Conservatory
779:The New York Times
755:, 15 November 1945
753:The New York Times
636:, to Wallerstein.
491:Metropolitan Opera
486:The New York Times
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471:Metropolitan Opera
431:Flight from Vienna
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327:Vienna State Opera
321:Vienna State Opera
287:Frankfurt, Germany
231:
201:in piano from the
141:Metropolitan Opera
133:Vienna State Opera
129:Lothar Wallerstein
23:Lothar Wallerstein
1199:Music at Michigan
722:NY Times Obituary
533:Other engagements
405:Salzburg Festival
283:Hoch Conversatory
276:Mafalda Salvatini
268:Traian GrozÄvescu
237:Der Rosenkavalier
137:Salzburg Festival
126:
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105:Years active
69:November 14, 1949
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