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Jonny spielt auf
Jonny spielt auf (Jonny Strikes Up), Op. 45, is a German-language Zeitoper with words and music by Austrian composer Ernst Krenek about a jazz violinist. He dedicated the opera to his second wife, Berta Herrmann. A performance lasts about two hours. The work typified the cultural freedom of the 'golden era' of the Weimar Republic.
Walther Brügmann directed the premiere at the Neues Theater (Leipzig), the predecessor to the Leipzig Opera, on 10 February 1927. The work was quickly adopted by opera houses across Germany, where it was performed 421 times on various stages during its first season alone. It provided Krenek with the financial security to be able to devote all his time to composing. The arietta from act 1, "Leb' wohl, mein Schatz", was as an arrangement for jazz band or salon orchestra released as "Jonny’s Blues" on several 78 rpm recordings. It was staged in 42 opera houses, including at the Metropolitan Opera in New York City on 19 January 1929 where it was given under Artur Bodanzky with Florence Easton, Edytha Fleischer, Walter Kirchhoff, Michael Bohnen and Friedrich Schorr. The libretto was translated into 14 languages. It was the first opera performed by Swiss tenor Hugues Cuénod.
Nevertheless, with the rise of the Nazi movement, the opera encountered hostility in Vienna in 1927–1928 from Nazi sympathisers. The magazine Vogue described the scene in spring of 1928:
In Munich, for instance, the opera-house was closed to it, and, to be presented at all, it had to go to the Gaertner Platz Theater. At the first performance, angry witnesses threw evil-smelling devices. At the second, ironic partisans of Hitler unloosed a cageful of white mice. After the show, crowds in the street outside threatened the audience for having willingly looked upon the "Black Shame!"
The same protests occurred several years later in Munich. After the National Socialists attained power in Germany, they banned the opera. At the 1938 Entartete Musik exhibition in Düsseldorf, organiser Hans Severus Ziegler condemned the opera as the very archetype of Weimar decadence and used a racist and antisemitic caricature of one of the original promotional posters for the work from 1927 as the main promotional image for his exhibition.
The opera singer Anita is walking in the mountains. Lost, she meets the composer Max, who is admiring a glacier. She recognizes Max and tells him that she sang the title role in one of his operas. Both return together to the mountain hotel. A few days later, and it is clear Max has fallen in love with Anita, but she has to leave for Paris where she is performing in his new opera.
As jazz plays in the foyer of a Paris hotel, a chambermaid, Yvonne, who is in a relationship with the jazz fiddler Jonny, is cleaning the room of the famous Daniello – a concert violinist. Jonny slips into the room, sees Daniello's Amati violin and decides to steal it but is prevented from doing so by Anita's arrival. Wasting no time. Jonny makes a none-too-subtle pass at Anita and they are in an embrace when Daniello shows up. Daniello pulls Jonny off Anita, locks up the valuable violin, and takes Anita to his bedroom. Jonny observes this and, with the help of key he has obtained from Yvonne, steals the violin and hides it in Anita's banjo case.
The next morning Anita leaves Daniello's room to meet with her manager and sign a contract that will take her over to America to sing there. Daniello then discovers his violin is missing, realizes someone has to have had access to his room and summons the hotel manager who sacks Yvonne. Daniello thinks Anita is in some ways involved and decides to take revenge by embarrassing her. He gives Yvonne a ring Anita has just given to him, telling Yvonne to show it to Max and tell him about his and Anita's affair, then he follows Anita. Jonny is also in pursuit of Anita because she has with her the banjo case containing the priceless violin.
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Jonny spielt auf
Jonny spielt auf (Jonny Strikes Up), Op. 45, is a German-language Zeitoper with words and music by Austrian composer Ernst Krenek about a jazz violinist. He dedicated the opera to his second wife, Berta Herrmann. A performance lasts about two hours. The work typified the cultural freedom of the 'golden era' of the Weimar Republic.
Walther Brügmann directed the premiere at the Neues Theater (Leipzig), the predecessor to the Leipzig Opera, on 10 February 1927. The work was quickly adopted by opera houses across Germany, where it was performed 421 times on various stages during its first season alone. It provided Krenek with the financial security to be able to devote all his time to composing. The arietta from act 1, "Leb' wohl, mein Schatz", was as an arrangement for jazz band or salon orchestra released as "Jonny’s Blues" on several 78 rpm recordings. It was staged in 42 opera houses, including at the Metropolitan Opera in New York City on 19 January 1929 where it was given under Artur Bodanzky with Florence Easton, Edytha Fleischer, Walter Kirchhoff, Michael Bohnen and Friedrich Schorr. The libretto was translated into 14 languages. It was the first opera performed by Swiss tenor Hugues Cuénod.
Nevertheless, with the rise of the Nazi movement, the opera encountered hostility in Vienna in 1927–1928 from Nazi sympathisers. The magazine Vogue described the scene in spring of 1928:
In Munich, for instance, the opera-house was closed to it, and, to be presented at all, it had to go to the Gaertner Platz Theater. At the first performance, angry witnesses threw evil-smelling devices. At the second, ironic partisans of Hitler unloosed a cageful of white mice. After the show, crowds in the street outside threatened the audience for having willingly looked upon the "Black Shame!"
The same protests occurred several years later in Munich. After the National Socialists attained power in Germany, they banned the opera. At the 1938 Entartete Musik exhibition in Düsseldorf, organiser Hans Severus Ziegler condemned the opera as the very archetype of Weimar decadence and used a racist and antisemitic caricature of one of the original promotional posters for the work from 1927 as the main promotional image for his exhibition.
The opera singer Anita is walking in the mountains. Lost, she meets the composer Max, who is admiring a glacier. She recognizes Max and tells him that she sang the title role in one of his operas. Both return together to the mountain hotel. A few days later, and it is clear Max has fallen in love with Anita, but she has to leave for Paris where she is performing in his new opera.
As jazz plays in the foyer of a Paris hotel, a chambermaid, Yvonne, who is in a relationship with the jazz fiddler Jonny, is cleaning the room of the famous Daniello – a concert violinist. Jonny slips into the room, sees Daniello's Amati violin and decides to steal it but is prevented from doing so by Anita's arrival. Wasting no time. Jonny makes a none-too-subtle pass at Anita and they are in an embrace when Daniello shows up. Daniello pulls Jonny off Anita, locks up the valuable violin, and takes Anita to his bedroom. Jonny observes this and, with the help of key he has obtained from Yvonne, steals the violin and hides it in Anita's banjo case.
The next morning Anita leaves Daniello's room to meet with her manager and sign a contract that will take her over to America to sing there. Daniello then discovers his violin is missing, realizes someone has to have had access to his room and summons the hotel manager who sacks Yvonne. Daniello thinks Anita is in some ways involved and decides to take revenge by embarrassing her. He gives Yvonne a ring Anita has just given to him, telling Yvonne to show it to Max and tell him about his and Anita's affair, then he follows Anita. Jonny is also in pursuit of Anita because she has with her the banjo case containing the priceless violin.