Music:
Member Since: 04/04/2007
Band Members:
Characters:
Cast
Der Feenkönig (The Fairy King) - Bass
Ada (A Fairy) - Soprano
Farzana (A Fairy) - Soprano
Zemina (A Fairy) - Soprano
Arindal (King of Tramont) - Tenor
Lora (His sister) - Soprano
Morald (Her loverr) - Baritone
Gernot (Arindal's hunter) - Bass
Drolla (Loras Maid) - Soprano
Gunther (Coutier of Arindal) - Tenor
Harald (Arindal's Field Commander) - Bass
A messenger - Tenor
Voice of Groma (Magician) - Bass
Influences:
Die Feen (The Fairies) is Richard Wagner's first completed opera, composed entirely in 1833, when Wagner was 20 years old. The year before, Wagner had abandoned his first attempt at writing an opera, Die Hochzeit (The Wedding). After the initial failure to have "Die Feen" performed, Wagner completely dissociated himself from the work and made no further attempt at staging it.
On a rather speculative note, one might suspect that Wagner symbolically killed off his early effort by giving the name "Morold" to Isolde's first, slain husband
(see Synopsis Act 1, footnote) - much like Richard Strauss setting up an actual tombstone in his garden for his first Opera "Guntram", with an "epitaph" that read "Cruelly crushed by his own father's orchestra".
Apparently, Wagner even considered destroying the manuscript, but eventually donated it to King Kudwig II of Bavaria. In 1939, the manuscript was given as a present to Adolf Hitler for his 50th birthday, and perished with him in flames in the Berlin bunker in the final days of World War II.
"Die Feen" remained unperformed until shortly after the composer's death in 1883, when it was premiered in Munich. The rehearsal assistant at the time was none other than the young Richard Strauss. The opera is rarely performed today, unsurprisingly so.
"Die Feen" sounds outdated even by contemporary standards, imitating the style of Carl Maria von Weber (whose "Freischütz" Wagner adored), complete with Recitativi(!). Even as a a youthful attempt, the music, for the most part, is somewhat dull and uninspired; traces of Wagner's future mastery are few and far between. I have attempted to select a few passages that hint at Wagner's mature, individualized later style. The Ouverture, on the other hand, might serve to illustrate the overall epigonal, pedestrian and heavy-handed quality of the work.
(ASL, with a few borrowings)
Type of Label: Major