In this house in Berlin on Heerstraße 2 in Charlottenburg, near Theodor-Heuss-Platz (U2), Richard Strauss wrote Ariadne auf Naxos in 1916. A little bit than 100 years later, we will talk about the language of this opera – in Berlin as well, on Ganghoferstraße 2 in Neukölln, near Karl-Marx-Straße (U7).
The fourth workshop of the series “German for Opera Singers” has the topic:
Seien wir wieder gut – The Linguistics of Ariadne auf Naxos
Goal: The participants will understand the language of the libretto, the vocabulary and its subtleties, and how meaning, emotions and attitudes are expressed in the structure of sentences.
Content: Using chosen arias and excerpts of recitatives we will examine
- personal pronouns (Er, dero etc.) and what kind of relationships they reflect between the characters,
– word order (involving dative, accusative etc.) and where the librettist wants to put his emphasis,
– genitive and where and how it appears,
– particulates (doch, halt, noch etc.) and the emotions and attitudes they carry,
– swearwords and how strong and grave they are, - fixed phrases, so called collocations (connections of words), that help to memorize parts of the text
– Viennese phrases and their charms, and what they reveal or hide.
What you can do: Bring your questions and your arias to discuss their language.
Who consults: Bernd Hendricks, German Language Consultant and author of the book Ach ich fühl’s – German for Opera Singers in Three Acts: Studying, Speaking, Singing.
Time: Monday, February 6, 7 pm – 9 pm
Place: Prachtwerk Cafe, conference room, Ganghoferstr. 2
Price: The workshop is free. A small donation to cover the rent of the room would be appreciated.
Review: I would like to ask the participants to rate and review the workshop in social media, and for the blog “Ach ich fühl’s – German for Opera Singers”. The workshop will be documented with photos, in a video or/and with an article for blogs and other publications.
Strauss lived in this building on Heerstraße 2 between 1913 and 1917. The plaque on the wall mentions that he composed here also Die Frau ohne Schatten. He left Berlin in Mai 1918 to work for the Hofoper in Vienna.