Oper am Gänsemarkt

Hamburg opera at the goose market was from 1678 to 1738, the first and most important civil - municipal theater in the German language area. The inauguration of the building took place on January 2, 1678. With two thousand places it surpassed all contemporary theater spaces. Only in 1765 the now vacant and dilapidated house was demolished and in its place the German National Theater, where Gotthold Ephraim Lessing in 1767 worked for three years as a dramaturg.

With the house at the goose market combines the names of important German opera composer Georg Bronner, Johann Philipp Foertsch, Johann Wolfgang Franck, Christoph Graupner, George Frideric Handel, Reinhard Keiser, Johann Philipp Krieger, Johann Sigismund Kusser, Johann Mattheson, Georg Caspar Schürmann, Georg Philipp Telemann and Johann Theile as well as the names of a number of German poets, as librettist became famous in the early 18th century, including Joachim Beccau, Friedrich Christian Bressand, Heinrich Elmenhorst, Barthold enemy, Henry Hinsch, Christian Friedrich Hunold, Johann Ulrich king and Christian Heinrich Postel.

Chronology

The establishment of the Hamburg opera was due to the initiative of the well-traveled lawyer and councilor Gerhard Schott, who was impressed by Italy's opera. The hotel's opening was held with the spiritual opera Adam and Eve by Johann Theile on January 2, 1678. His successors were: Nicolaus Adam Strungk, Johann Wolfgang Franck, Johann Philipp Foertsch, Johann Georg Conradi and Johann Sigismund Kusser.

1697 took over Reinhard Keiser, the Kapellmeister, from 1703 to 1707 he also held the directorship. They played for two to three days a week and so came on a year to the 90 ideas that could take four to six hours because of the long scene changes and started in the early afternoon.

1722, Georg Philipp Telemann, the management of the opera house, which he held until the end of the last season 1738.

Cultural-historical importance

The importance of the Hamburg opera at the goose market today can not measure justice. Opera is now part of the music box that arisen in the 19th century literary theory demands in the field of drama " literary " productions in which music does not play a role anymore. In the second half of the 17th century, things were different: The opera was the drama that went on ancient tragedy and the refined culture of the present corresponded to that barely had use for a tragedy failing kings of the ancient world since the beginning of modern times.

Text and music of the early operas were considered equal. Authors wrote with self-confidence as " operatic poets" for the opera, their texts they published in editions of her work, in setting up the opera the text authors conducted Director.

The opera was next to a place of social representation: farms financed their own opera houses. Theater owned by the city were the exception to the late 17th century. Hamburg as a financially powerful and with more than 100,000 inhabitants on the population most important city in the German -speaking countries had opportunities to compete with London and Venice, as well as the German courts.

Although the clergy against operas and they pose seduction of the senses for lust complained, the opera house became the meeting place of the fashionable audience. Opera singers feuded on stage. Among the composers of the competition was fierce. Handel - 1704 worked as a violinist in the opera orchestra - fell in performance of Cleopatra in dispute with the conductor and composer Mattheson and both are said to have fought a duel later on the goose market.

The second version of Christian Friedrich Hunold Satyrischem 1710 novel offers vivid scenes:

" Selander and Tyrsates [ ... ] wolter take their place in Par Terre; Only the remnant that is here more known, wore no discretion Darzu, were the reasons: because under which, and soon those obscenities chatted Cavalliers and other honest people in front of the orchestra as many boys in large Paruqven back and ran again from the opera woman room that it was in his best gestöhret Aufmercksamkeit offt. Now they sat down on the Bäncke so found themselves at a if want so perfect honnetten places pimps and other unehrbahre Krams Birds, which is now so propre dressed that they are facing what would consider some righteous, and of such liberty, other incessantly to compel to Disco Ursus, and to incommodiren thereby.

Thus, they decided to choose a fine lodge; which because hardly any time, sintemahl so many Zulauff of people was that finally eräugnete a lack of it.

The overture was probably hear and bey opening of Theatri dropped them much pleasant one in the face. The Women's Room in them was partly beautiful, excellent in singing, in agreeable and Actions, and the Mann -person partly Italiänische the delicacy of music and voice, in which most of what good, and most in the a great reproach; the music had imgleichen much beautiful, lush and lovely in itself; the Theatro lacked a nice size and height does not, and the transformation including the gantzen decoration of the shop - place were probably inventirt and propre, or talk after a dasigen theatrical kind of special Magnificence. "

It comes in the longer novel scene to a rivalry between the singers, for a small green pieces of paper rain is prepared with verses of praise to the ladies. The Opernpoet and the infrastructure of the house come into view:

" [ ... ] There he standeth at the orchestra bey of the Jew his room, and trincket Coffee.

They applied thereto almost no eye from him, and were aware of how he soon with this, soon talked with that; now in front of the orchestra, and now the hour between Bäncken, and discourirte; and the Par Terre sans comparaison as a Hüner Dog crawled through.

What has this to mean, Selander asked that the Hr. Poet bey the people is so very beschäfftiget?

He erklährt them partly what they do not understand, reported another, fashion t anbey where a beautiful passage comes, so he moveth to devotion; and inquire if they are not pleasing to the Opera? "

The interaction of the operatic poet is played out in 1713 in a second novel on. In Foolish [ ... ] Cupid [ ... ] of Selamintes (Leipzig / Hall / Hamburg, 1713), page 98-106, the gallant heroes get involved in a conversation with him and serve him with the praise he wants to hear. The poet reveals in his reply that the opera is set with a false bottom - and can be decrypted scandalous:

" Listen to my high and frequent Dear gentlemen this funny Aria with a Nachdencken that I did not pour rire into gerucket! En fin! I want to tell them in confidence that is teased in the example of p: Do you see how Tecte a Anbetter the noble poetry against the unauthorized enemies same could revanchiren "

In Menantes a Hamburg revenge on coarser kind for the rows which were aimed at them:

" In this pleasant and of noble Poesi [e ] acting Disco Ursus they stöhrte the voice of a hag - person, who rumbled down the stairs, and schrye: The rogue, the small can. to call me a whore of? De Dyfel scarf ehn halen? and what's more purtzelten out before disgraceful words from a great women - Maule in the Fury.

The clamor went down next to the opera boxes that almost everyone came down to erkündigen on the cause. Since our experienced Cavalliers to their highest surprise that this one person sey, the poet made ​​some disgraceful verses how he explicitly praised by the same which is; thus they occupied the Eyfer before her reputation so that they wolter to personally take revenge on the poet.

This comedy hub also so soon Par Terre on: she ran as a wild sow, the one stolen from the boys, among the people who saw themselves according to their vermeynten Ehrenschändern to, and because you the good man came to meet the same, and perhaps from Par Terre go to the Theatrum wolter, so she did only a verzweiffelt shameful encroachment on its reputation with all sorts of nasty Tituln, but afterwards his Paruqve, zerrete him from Kopff, and tapte with their hands important in its own small nose, and his subtle genius. "

Viewers know from the samples to tell where the opera was directed by poet - Selamintes:

"Oh, if they had yet seen this secret counsel of Apollo yesterday bey of the sample, those Fieng again how geschäfftig he it transpired, to inform the Acteurs, in whatever way they quite naturally each one in love, sad or angry word with all limbs außdrücken Solten. I think they should have schäckicht about his Ampts - Eiffer to laugh if it were not außfiel everything after his wayward Phantasey. He gritted his teeth, waved his hands and stomping their feet hefftig fete so that a good friend was ordered to ask him to spare the Theatri so it does not want to fall over a Hauffen. But he was strongly bezahlet of the funny person. This bird had a Liecht in hand, and as he left the Vizli Puzli who had gelehnet over the chair of the Jucunda, vorbey went, he steckete him speak of ohngefehr to the beautiful Poetic State Parucke that instantly lights - loh at Fieng to burn, and would soon set fire to the Lord verse box. "