Tannhäuser

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Synopsis
Place: near Eisenach
Time: early 13th century


Act 1
The Venusberg, (the Hörselberg of "Frau Holda" in Thuringia, in the vicinity of Eisenach)

Tannhäuser is held there a willing captive through his love for Venus. (Ballet scene; bacchanalian music.) Following the orgy of the ballet, Tannhäuser's desires are finally satiated, and he longs for freedom, spring and the sound of church bells. Once again he takes up his harp and pays homage to the goddess in a passionate love song, which he ends with an earnest plea to be allowed to depart. When Venus again tries to charm him, he declares: "My salvation rests in Mary, the mother of God." These words break the unholy spell. Venus and her attendants disappear, and he suddenly finds himself just below the Wartburg. It is springtime; a young shepherd sits upon a rock and pipes an ode to spring. Pilgrims in procession pass Tannhäuser as he stands motionless, and he sinks to his knees, overcome with gratitude. He is discovered by the landgrave and his companions, Wolfram, Walther, Biterolf, Reinmar, and Heinrich. They joyfully welcome the young singer, who had originally fled from the court because he was shamefully bested in the prize-singing contest. He initially refuses to join them, but when Wolfram informs him that his song has gained for him the heart of Elisabeth, he relents and follows the landgrave and the singers to the Wartburg.

Act 2

Hall of the Wartburg

Elisabeth has been living in seclusion since Tannhäuser's disappearance. When she hears of his return, she joyfully agrees to be present at a prize contest of song, and enters the hall. ("Dich, teure Halle.") Wolfram leads Tannhäuser to her; he loves her, but dares not tell her the evil he has done. The Landgrave and Elisabeth receive the guests who assemble for the contest, the noblemen of the neighbourhood, who appear in rich attire. (March and chorus.) The Landgrave announces the subject of the contestants' songs is to be "love's awakening". Elisabeth will grant the victor one wish, whatever it may be. Wolfram performs first; he declares that love is like a pure stream, which should never be troubled. Tannhäuser replies hotly that he finds the highest love only in the pleasure of the senses. The other singers support Wolfram. Tannhäuser replies to each separately, and at last in growing excitement he answers Wolfram with a love song to Venus, and declares that if the knights wish to know love as it is they should repair to the Venusberg. The women, with the exception of Elisabeth, leave the hall in horror, and the knights draw swords upon Tannhäuser, but Elisabeth protects him. Tannhäuser then expresses his penitence for his outburst, and the Landgrave allows him to join a band of pilgrims bound for Rome, where he may perhaps obtain forgiveness and redemption from the Pope.

Act 3
The valley of the Wartburg, in autumn

Orchestral music describes the pilgrimage of Tannhäuser. Elisabeth, accompanied by Wolfram, falls on her knees in prayer. She asks the returning pilgrims for news of Tannhäuser, but in vain. Once again she prays earnestly and returns broken-hearted to the Wartburg. Wolfram, who loves her with faithful devotion, has a presentiment of her death. (Wolfram: "Song to the evening star.") He sees before him a tottering pilgrim in torn garments. It is Tannhäuser, who informs Wolfram that the Pope refused his plea for absolution, and declared that he had no more chance of being forgiven than the Pope's staff had of sprouting leaves. Utterly despairing, Tannhäuser is now seeking the way back to the Venusberg and presently calls to Venus, who appears before him and bids him welcome back to her cavern. Suddenly, Wolfram notices a funeral procession descending the hill, and sees the mourners bearing the corpse of Elisabeth on a bier. Tannhäuser races to her side and collapses upon her body with the words, "Holy Elisabeth, pray for me" upon his lips. The younger pilgrims enter and announce that the Pope's staff has sprouted young leaves, a sign that Tannhäuser has obtained God's forgiveness.

Program and cast

Hermann: Franz-Josep Selig
    
Tannhäuser: Stefan Vinke
    
Wolfram Von Eschenbach: Thomas J. Mayer
    
Walther Von Der Vogelweide: Roger Padullés
    
Biterof: Deyan Vatchakov
    
Henry the Writer: Albert Casals
    
Reinmar Von Zweter: David Lagares
    
Elisabeth: Johanni van Oostrum
    
Venus: Michelle DeYoung
 

Gran Teatre del Liceu

Barcelona's opera house, the Gran Teatre del Liceu, was founded on the Rambla in 1847 and has continued over the years to fulfil its role as a culture and arts centre and one of the symbols of the city.

Today it is publicly-owned (by the Government of Catalonia, Barcelona City Council, Barcelona Provincial Council and the Ministerio de Educación, Cultura y Deporte) and administered by the Fundació del Gran Teatre del Liceu which, in addition to the aforementioned bodies, incorporates the Patronage Council and the Societat del Gran Teatre del Liceu (the old society of owners).
 

Origins: From 1837 to 1847

The Liceu evolved out of the Sociedad Dramática de Aficionados (Society of theatre-lovers) set up in 1837 at the instigation of Manuel Gibert in the former convent of Montsió by members of the National Militia, an organization of armed citizens with liberal leanings.
Barcelona's economy and population were growing fast at the time and the city needed a music conservatory. This led to the conversion of the Sociedad Dramática into the Liceo Filármonico Dramático Barcelonés de S.M. la Reina Isabel II (Barcelona Dramatic and Philharmonic Lyceum of HM Queen Isabel II).  In addition to its theatrical activities, the new organization cultivated Italian-style singing and music.
 

The building on the Rambla

The original building was solemnly opened on 4 April 1847. The plans had been drawn up by Miquel Garriga i Roca, subsequently assisted by Josep Oriol Mestres. The project was funded by selling shares, which meant that many of the boxes and seats were to be privately owned. The shareholders formed the Societat del Gran Teatre del Liceu, known as the “Societat de Propietaris” (Society of Owners),  which was in sole charge of running the Gran Teatre del Liceu from 1855 onwards, after it was legally separated from the Conservatori del Gran Teatre del Liceu.
The theatre was operated by impresarios who were given a concession to stage a specific number of productions in exchange for the proceeds from the sale of tickets not reserved for the Societat itself. This system was to endure until 1980.
 

The creation of the Consortium

By the last quarter of the 20th century this management system was no longer viable. In 1980, to avert the danger of the disappearance of an institution of such worldwide cultural renown, the Generalitat  Catalonia's first government in modern times – set up a consortium, the Consorci del Gran Teatre del Liceu, which also incorporated Barcelona City Council and the Societat del Gran Teatre del Liceu. Barcelona Provincial Council joined the Consortium in 1985, followed by the Spanish Ministry of Culture in 1986. From then on the Consortium took over operation of the theatre.

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