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The libretto by Georg Philipp Harsdörffer (1607–1658), first published 1644 in the fourth part of his Frauenzimmer Gesprächspiele, is based on the schoolplay Ein gar schön geistliches Waldgetichte genant Die glückseelige Seele of 1637, itself translated from L'anima felice favola boschareccia by the Italian Nicolò Negri (1606).
Gallery of Beauties The Nymphenburg Palace seen from its park. The Gallery of Beauties (German: Schönheitengalerie) is a collection of 38 portraits of the most beautiful women from the nobility and bourgeoisie of Munich, Germany, gathered by King Ludwig I of Bavaria in the south pavilion of his Nymphenburg Palace. [1]
Weber's masterpiece was the first great German Romantic opera. [48] 1823 Euryanthe (von Weber). Despite its weak libretto, Euryanthe had a great influence on later German operas, including Wagner's Lohengrin. [49] 1823 Semiramide (Rossini). This is the last opera that Rossini composed in Italy. [50] 1825 La dame blanche (François-Adrien ...
The most famous German-born opera composer of the era, Handel, wrote four operas for Hamburg at the beginning of his career but soon moved on to write opera seria in Italy and England. [5] In 1738, the Theater am Gänsemarkt went bankrupt and the fortunes of serious opera in German went into decline for the next few decades.
The following is a list of operas and operettas with entries in Wikipedia. The entries are sorted alphabetically by title, with the name of the composer and the year of the first performance also given. For a list of operas sorted by name of composer, see List of operas by composer.
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Die Dafne (1627) is an opera. Its libretto was written by Martin Opitz (which survives) and its music was composed by Heinrich Schütz (which is lost). It has traditionally been regarded as the first German opera, though it has also been proposed more recently that it was in fact a spoken drama with inserted song and ballet numbers.
Moreover, the constant presence of a foreign language opera season in the city meant that the operas of indigenous composers had constantly to compete with those of the great Italian composers, as well as those of Weber, Meyerbeer, Fromental Halévy and Gounod (the last three usually performed in Italian at the Covent Garden), which continued ...