S
T A G E W O R K S| DER CORREGIDOR (1895) | ||
| Opera
in four acts. Text by Rosa Mayreder Edited by Leopold Spitzer (1995) |  |
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| W 12-DIR | Conductor's score (4 volumes) ISMN 979-0-50025-132-3 | |
| W 12-KL | Vocal score (by Hugo Wolf) ISMN 979-0-50025-080-7 | |
| W 12-LIB | Libretto
ISMN 979-0-50025-081-4/ ISBN 978-3-900270-31-5 |
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| W 12-RVB | Critical report ISMN 979-0-50025-155-2 / ISBN 978-3-900270-35-3 |
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| W 12-CHP | Chorus score | |
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Dramatis personae: Don Eugenio de Zuniga, Corregidor. Tenor Juan Lopez, Alkalde. Basso profondo Pedro, his secretary. Tenor Tonuelo, court messenger. Bass Repela, servant of the Corregidor. Basso buffo Tio Lukas, miller. Baritone Frasquita, his wife. Mezzo-soprano Donna Mercedes, Corregidora. Soprano Duenna, in the service of the Corregidor. Alt Manuela, maid in the service of Juan Lopez. Mezzo-soprano Neighbour. Tenor Orchestra: 3(1st+Picc),2,C.A.,2,B.Cl.,2-4,3,3,1- Timp,Perc,Gl-Hp-Str Stage music: 3Tpt, 2Hr * Performance material for hire |
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| Der Corregidor is based
on the novella El Sombrero de tres picos ('The Three-Cornered Hat') by Pedro
de Alarcón. Wolf thought highly of his music for Der Corregidor; for
him, with its vividly graphic quality and its remarkable simplicity and transparency,
it compared favourably with his earlier works. The subject matter of this
at once comic and also genuinely tragic work still has relevance for performers
and audiences today – corruption, the arbitrary exercise of authority,
and women's struggle for their rights.
(Leopold Spitzer)
Wolf's vocal score was already in print before the first performance in
Mannheim on 7 June 1896, and the composer's post-premiere revision can
only be deduced from the performance material. Leopold Spitzer has cross-checked
Wolf's revised score and vocal score and evaluated the source material
in a detailed critical report. | ||
| The book on the opera: | |
| Leopold
Spitzer HUGO WOLFS „CORREGIDOR”. Fakten und Daten A comprehensive presentation of facts and data on the text and the music allow the reader important insights into the lines of thought and working procedures Hugo Wolf followed in the composition of Der Corregidor. |
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| W 101 | 136 pages, sewn in soft covers. ISMN 979-0-50025-215-3 / ISBN 978-3-900270-48-1 |
| MANUEL VENEGAS (1897) | |
| W 13 | Opera fragment. Text by Moritz
Hoernes Edited by Leopold Spitzer (1975) Vocal score ISMN 979-0-50025-053-1 |
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Dramatis personae: Manuel Venegas, Tenor Antonio Arregui, Baritone Don Trinidad, parish priest, Bass Vitriolo, apothecary, Tenor Carlos, a retired Captain, Bass-baritone Morisco, a muleteer, Buffo tenor Majordomo of a pious fraternity, Bass Soledad, Antonio's wife, Soprano Donna Maria, Soledad's mother, Contralto Clerics, guardsmen, common people. ('Frühlingschor' from Manuel Venegas, see W 11/6) |
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| No sooner had he completed Der Corregidor, than Wolf had plans for a new opera, once again to be based on a novella by Pedro de Alarcón, this time the tragic story El Niño del la Bola ('The Lucky Kid'). The outbreak of Wolf's illness in September 1897 prevented him from carrying the project through. | |
| INCIDENTAL MUSIC FOR IBSEN'S DAS FEST AUF SOLHAUG (1890/91) | |
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for soli (mezzo-soprano, baritone), mixed chorus and orchestra Edited by Hans Jancik (1987) 2,2,C.A.,2,2-4,2,3,1-Timp,Trgl,Cym-Hp-Str |
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| W 14-DIR | Full score ISMN 979-0-50025-054-8 |
| W 14-KL | Vocal score by Leopold Spitzer (1991) ISMN 979-0-50025-134-7 |
| W 14-CHP | Chorus score ISMN 979-0-50025-135-4 |
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Introduction: Margit's ballad: Bergkönig ritt in die Lande weit Gudmund's first song: Ich wandelte sinnend March and chorus: Bei Sang und Spiel Introduction to Act Two and chorus: Nun streichet die Fiedel Chorus: Es locket ins Freie Gudmund's first song: Ich fuhr wohl über's Wasser Introduction to Act Three Chorus: Wir wünschen Freud' und Glück Final chorus: Gottes Auge wacht * Orchestral material for hire |
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Wolf's only commissioned
work, his music for Ibsen´s Das Fest auf Solhaug was written for the Burgtheater and
was first performed, extensively cut, on 21 November 1891. Wolf wrote to
Melanie
Köchert
on 31 July 1897: 'I recently looked at the Solhaug score again and felt terribly
sad that these fresh sounds may never be heard – and yet the air this
music breathes is so genuinely dramatic.'  |
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