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Mein Herr Marquis", sometimes called "Adele's Laughing Song", is an aria for soprano with choral accompaniment from act 2 of the operetta Die Fledermaus by Johann Strauss II. It appears in many anthologies of music for soprano singers, and is frequently performed in recitals.
The original literary source for Die Fledermaus was Das Gefängnis (The Prison), a farce by German playwright Julius Roderich Benedix [1] that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, Le Réveillon, loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal. [2]
Also sprach Zarathustra, Op. 30 (German: [ˈalzo ʃpʁaːx t͡saʁaˈtʊstʁa] ⓘ, Thus Spoke Zarathustra or Thus Spake Zarathustra) [1] is a tone poem by German composer Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's 1883–1885 philosophical work of the same name. [2]
Strauss and Hofmannsthal used dialects to depict the social status of a role in a similar way in their next opera, Ariadne auf Naxos. In English translations, these dialects have been accounted for with varying degrees of rigor; the Chandos Highlights version, for example, uses only standard British English.
With the exception of the song "Malven" composed later the same year, [4] the songs are Strauss's final completed works. The overall title Four Last Songs was provided by Strauss's friend Ernst Roth , the chief editor of Boosey & Hawkes , when he published all four songs as a single unit in 1950, and in the order that most performances now ...
The song was dedicated to the principal tenor of the Munich Court Opera, Heinrich Vogl. [3] Strauss promised to later write some songs for Aunt Johanna. "Zueignung" was the first of eight songs by Strauss published as Op. 10, [4] which were all settings of Gilm's poems. In 1885, they were the first songs Strauss ever published. [4]
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"Klänge der Heimat" ("Sounds of my homeland"), also called "Csárdás", is an aria for soprano from act 2 of the operetta Die Fledermaus by Johann Strauss II.It appears in many anthologies of music for soprano singers, and is frequently performed in recitals.