History Theatre / Tannhaeuser

4th Sep '16 4:38:40 AM Morgenthaler
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* TheHighMiddleAges: Around the turn of the 12th/13th centuries, though some producers like to costume it in the style of the [[http://en.wikipedia.org/wiki/Manesse_Codex Manesse Codex]] from the first half of the 14th. (This MS. gives us the famous [[http://digi.ub.uni-heidelberg.de/diglitData/image/cpg848/2/264r.jpg representation]] of the orginal Tannhäuser wearing the habit of TheTeutonicKnights.)

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* TheHighMiddleAges: Around the turn of the 12th/13th centuries, though some producers like to costume it in the style of the [[http://en.wikipedia.org/wiki/Manesse_Codex Manesse Codex]] from the first half of the 14th. (This MS. gives us the famous [[http://digi.ub.uni-heidelberg.de/diglitData/image/cpg848/2/264r.jpg representation]] of the orginal Tannhäuser wearing the habit of TheTeutonicKnights.UsefulNotes/TheTeutonicKnights.)
3rd Sep '16 11:21:17 AM Morgenthaler
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'''''Tannhäuser und der Sängerkrieg auf Wartburg''''' (or, in English, "Tannhäuser and the Song-Contest at the [[http://en.wikipedia.org/wiki/Wartburg_castle Wartburg Castle]]"), more commonly know as '''''Tannhäuser ''''', is a "romantic opera in three acts" by Creator/RichardWagner. The opera first premiered in Dresden in 1845, but a revised and extended version (translated into French!) was prepared by the composer for the Paris ''Opéra'' in 1861, and it is this later version that is more commonly performed today (in a suitably Teutonic retranslation by the composer).

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'''''Tannhäuser ''Tannhäuser und der Sängerkrieg auf Wartburg''''' Wartburg'' (or, in English, "Tannhäuser and the Song-Contest at the [[http://en.wikipedia.org/wiki/Wartburg_castle Wartburg Castle]]"), more commonly know as '''''Tannhäuser ''''', ''Tannhäuser'', is a "romantic opera in three acts" by Creator/RichardWagner. The opera first premiered in Dresden in 1845, but a revised and extended version (translated into French!) was prepared by the composer for the Paris ''Opéra'' in 1861, and it is this later version that is more commonly performed today (in a suitably Teutonic retranslation by the composer).
3rd Sep '16 11:20:38 AM Morgenthaler
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* HolyRomanEmpire: The Minnesinger period, obviously. ''Landgraf'' Hermann refers to the struggle between the ''Welfen'' and ''Waiblingen'', ''i.e.'', the Guelphs (or Papal party) and the Ghibellines (or Imperial party).
** "Guelphs" and "Ghibellines" are Italianized forms of the names of the two leading noble houses of the Empire, the the Saxon Welfen (Welfs?) and the Swabian Hohenstaufen (called "Waiblingen" after one of their estates to alliterate with "Welf", although this derivation has been disputed). At the time the Hohenstaufen usually provided the German kings and Roman emperors, which is why the popes tended to support their hereditary enemies, the Welfen (who only provided one emperor, Otto IV). In Italy the names came to be applied to the Imperial and the Papal party and, after the end of the Hohenstaufen dynasty, to parties specific to certain Italian states. The Welf family exists to this day, better known as the House of Hanover.
13th Aug '16 1:18:12 PM nombretomado
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Wagner's opera drew from many sources: a popular ballad reprinted in the famous folk-song collection, ''Des Knaben Wunderhorn''; [[DichterAndDenker Heinrich Heine]]'s poem ''Der Tannhäuser: Eine Legende''"; Creator/ETAHoffmann's "Der Kampf der Sänger" (included in his ''Die Serapions-Brüder''); and possibly from Carl Maria von Weber's ''Theatre/DerFreischuetz'', an opera which Wagner greatly admired and with which ''Tannhäuser'' shows some structural similarities (Weber himself had considered writing a Venusberg opera). It proved highly popular in Germany, but the première of the revised version at the Paris ''Opéra'' was a notorious failure -- though more for political and personal reasons than artistic ones. (The gentlemen of the royalist Jockey Club resented both Wagner's patron, the Bonapartist Princess Metternich, and his refusal to put the then-obligatory ballet sequence in the second rather than the first act of the opera, requiring the ''prime donne'' of the ''Opéra'' to forgo either the ballet or their suppers -- with the gentlemen of the royalist Jockey Club. At the first three performances they interrupted the opera with cabman's whistles, and the disgruntled Wagner withdrew the work. (To the anti-Semitic composer's even greater disgust, the settings and costumes were immediately re-used for a new production of [[AmbiguouslyJewish Meyerbeer]]'s ever-popular ''Robert le Diable''.)) However, the new version quickly established itself, and the opera, in both versions, has proven to be one of the composer's most popular works, both in the opera-house and in the concert-hall.

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Wagner's opera drew from many sources: a popular ballad reprinted in the famous folk-song collection, ''Des Knaben Wunderhorn''; [[DichterAndDenker [[UsefulNotes/DichterAndDenker Heinrich Heine]]'s poem ''Der Tannhäuser: Eine Legende''"; Creator/ETAHoffmann's "Der Kampf der Sänger" (included in his ''Die Serapions-Brüder''); and possibly from Carl Maria von Weber's ''Theatre/DerFreischuetz'', an opera which Wagner greatly admired and with which ''Tannhäuser'' shows some structural similarities (Weber himself had considered writing a Venusberg opera). It proved highly popular in Germany, but the première of the revised version at the Paris ''Opéra'' was a notorious failure -- though more for political and personal reasons than artistic ones. (The gentlemen of the royalist Jockey Club resented both Wagner's patron, the Bonapartist Princess Metternich, and his refusal to put the then-obligatory ballet sequence in the second rather than the first act of the opera, requiring the ''prime donne'' of the ''Opéra'' to forgo either the ballet or their suppers -- with the gentlemen of the royalist Jockey Club. At the first three performances they interrupted the opera with cabman's whistles, and the disgruntled Wagner withdrew the work. (To the anti-Semitic composer's even greater disgust, the settings and costumes were immediately re-used for a new production of [[AmbiguouslyJewish Meyerbeer]]'s ever-popular ''Robert le Diable''.)) However, the new version quickly established itself, and the opera, in both versions, has proven to be one of the composer's most popular works, both in the opera-house and in the concert-hall.
17th Oct '15 7:03:03 PM nombretomado
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Wagner based the plot of his opera on a conflation of two originally unconnected legends. The first tells of a minnesinger (or "minstrel of love") and knight, called ''the'' Tannhäuser (literally, "man from the fir-tree-home"), who descended into a subterranean kingdom under a mountain (the so-called "Mountain of Venus" or ''Venusberg'', identified by Wagner with the real [[http://www.grosserhoerselberg.de/garbage/31/318277/1222017.jpg Hörselberg]] near the town of [[http://en.wikipedia.org/wiki/Eisenach Eisenach]]) and won the favors of the goddess of love (called alternately Venus or Holda, her Latin or German names, by Wagner); after a period of some years, the knight repented and fled the Venusberg to seek penance from [[ThePope Pope Urban IV]]; the pope rejects his penitence, telling him that sooner will his staff grow new leaves than forgiveness be possible for such as he, and Tannhäuser, despairing, returns to Venus -- three days later the staff does indeed burst into leaf, but the pope's messengers cannot find the knight. The second tells of the "War of Song" conducted by the legendary minnesinger Heinrich von Ofterdingen (and his sorcerous companion Clinschor (=Klingsor (!)) of Hungary) against the most famous minstrels of mediæval Germany at the court of ''Landgraf'' (or "territorial count") Hermann von [[TheSixteenLandsOfDeutschland Thüringen]]; in the course of which Clinschor prophecies the birth of Elizabeth of Hungary, later to be the wife of the Landgrave's son and a canonized saint. Wagner radically reshaped these legends, identifying the [[HistoricalDomainCharacter historical]] (though pseudonymous) Tannhäuser with the (probably) mythical Ofterdingen, and transporting the former from his own time (''fl. c''. 1250 A.D.) to that of Landgrave Hermann I of Thuringia, some 50 years before, and transforming the Landgrave's daughter-in-law into his niece and Tannhäuser's true love

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Wagner based the plot of his opera on a conflation of two originally unconnected legends. The first tells of a minnesinger (or "minstrel of love") and knight, called ''the'' Tannhäuser (literally, "man from the fir-tree-home"), who descended into a subterranean kingdom under a mountain (the so-called "Mountain of Venus" or ''Venusberg'', identified by Wagner with the real [[http://www.grosserhoerselberg.de/garbage/31/318277/1222017.jpg Hörselberg]] near the town of [[http://en.wikipedia.org/wiki/Eisenach Eisenach]]) and won the favors of the goddess of love (called alternately Venus or Holda, her Latin or German names, by Wagner); after a period of some years, the knight repented and fled the Venusberg to seek penance from [[ThePope [[UsefulNotes/ThePope Pope Urban IV]]; the pope rejects his penitence, telling him that sooner will his staff grow new leaves than forgiveness be possible for such as he, and Tannhäuser, despairing, returns to Venus -- three days later the staff does indeed burst into leaf, but the pope's messengers cannot find the knight. The second tells of the "War of Song" conducted by the legendary minnesinger Heinrich von Ofterdingen (and his sorcerous companion Clinschor (=Klingsor (!)) of Hungary) against the most famous minstrels of mediæval Germany at the court of ''Landgraf'' (or "territorial count") Hermann von [[TheSixteenLandsOfDeutschland Thüringen]]; in the course of which Clinschor prophecies the birth of Elizabeth of Hungary, later to be the wife of the Landgrave's son and a canonized saint. Wagner radically reshaped these legends, identifying the [[HistoricalDomainCharacter historical]] (though pseudonymous) Tannhäuser with the (probably) mythical Ofterdingen, and transporting the former from his own time (''fl. c''. 1250 A.D.) to that of Landgrave Hermann I of Thuringia, some 50 years before, and transforming the Landgrave's daughter-in-law into his niece and Tannhäuser's true love
31st May '15 6:22:24 AM TheNerfGuy
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* OlderThanTheyThink: Wagner's identification of Tannhäuser with Heinrich von Ofterdingen may have been suggested by Ludwig Bechstein and Christoph Theodor Leopold's similar (and dubious) identification, some fifteen years earlier.



* RecursiveImport: Various portions of ''Tannhäuser'' were rewritten for the Paris production, and the words had to be retranslated into German.
* TenorBoy: Heinrich and Walther.
* UnfortunateName: Wagner's original name for his opera was ''Der Venusberg'', but he was convinced to change it when the [[DoubleEntendre unfortunate implications]] of translating it into French were pointed out to him -- since « ''La Monte de Vénus'' » ("The Mountain of Venus") is one letter off from « ''mont de Vénus'' » ("mound of Venus") which refers to the pubic mound.
** And the "Wartburg" in question is the castle and not TheAllegedCar [[http://en.wikipedia.org/wiki/Wartburg_(car) named after it]].

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* RecursiveImport: Various portions of ''Tannhäuser'' were rewritten for the Paris production, and the words had to be retranslated into German.
*
%%* TenorBoy: Heinrich and Walther.
* UnfortunateName: UnfortunateName:
**
Wagner's original name for his opera was ''Der Venusberg'', but he was convinced to change it when the [[DoubleEntendre unfortunate implications]] of translating it into French were pointed out to him -- since « ''La Monte de Vénus'' » ("The Mountain of Venus") is one letter off from « ''mont de Vénus'' » ("mound of Venus") which refers to the pubic mound.
** And the "Wartburg" in question is the castle and not TheAllegedCar [[http://en.wikipedia.org/wiki/Wartburg_(car) named after it]].
31st May '15 6:20:06 AM TheNerfGuy
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* AllGirlsWantBadBoys: Elisabeth ignores the virtuous, chivalrous Wolfram while pining away for the arrogant Heinrich, who has forsaken the Minnesingers and is living with a pagan goddess. When he admits his evil and is sent away on pilgrimage, she prays for him and ignores Wolfram some more. And when Heinrich comes back having failed to get absolution for his sins, she dies for him.



* BettyAndVeronica: Elisabeth and Venus.

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* %%* BettyAndVeronica: Elisabeth and Venus.
30th May '15 7:08:15 PM Alberich
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Added DiffLines:

* NiceGuysFinishLast: Elisabeth pines for, chases, pleads for, prays for, and ultimately dies for the arrogant, blasphemous Heinrich. The kindly, chivalrous Wolfram (who is all-too-obviously pining away for her) never gets a second look.
30th May '15 6:56:37 PM Alberich
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* {{Flanderization}}: Happens to, of all things, the staff. In the original and Wagner's version, the staff is to send forth new leaves; some productions and later depictions (''e.g''., Creator/HGWells' ''The Man Who Could Work Miracles'') make the staff burst into ''bloom'', particularly roses.

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* {{Flanderization}}: Happens to, of all things, the Pope's staff. In the original and Wagner's version, the staff is to send forth new leaves; some productions and later depictions (''e.g''., Creator/HGWells' ''The Man Who Could Work Miracles'') make the staff burst into ''bloom'', particularly roses.
30th May '15 6:55:24 PM Alberich
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* DesignatedHero: Heinrich is traditionally the least popular of Wagner's heroes, being a wishy-washy whiner and obviously ''far'' less worthy of Elisabeth than Wolfram.
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