Before Richard Strauss, the representative of post-romanticism, talks about expressionist opera, let's take a look at the opera creation of Richard Strauss, the representative of post-romanticism (1864- 1949). He had a great influence on the formation of expressionist opera. He emphasizes subjective feeling, pursues sensory stimulation, regards self-feeling as the highest aesthetic enjoyment, and thinks that ugly things should also enter the aesthetic field.
Richard Strauss 1874, Richard Strauss finished primary school and watched Wagner's works and performances by Tanghaus, Siegfried and Lohengreen when he was studying in Ludwig Middle School in the city. His heart was shocked by this great art, and he once wrote: "Despite my father's opposition, I stepped into this magical art world-Nieberungen's ring, Tristan and isolde, and so on. I still remember the ecstasy and impatience when I first read the score of Tristan and isolde at the age of seventeen. " (Cited by Richard Strauss: Memoirs (1949) It was at that time that his musical style gradually took shape.
/kloc-in the winter of 0/882, Richard Strauss studied philosophy, aesthetics and art history at the University of Munich, but this did not prevent him from becoming the most individual composer. Before 1935, he served as deputy conductor and conductor in opera houses in four or five cities in Germany. Besides playing baseball, he also created a large number of musical works, the most important of which are symphonic poems and operas. There are many philosophical titles in Strauss's symphonic poems, such as Death and Deformation (1889), Chattustra (1896) and Til Allen Spigel (1895).
After 1900, Strauss's creation was mainly opera. His first opera "Guntram" was completed in 1893, and "Fire Shortage" was written in 1902, which is a comedy adapted from the medieval Flemish legend. It premiered in Dresden and was a great success, and continued to perform for a long time. This gave Richard Strauss great encouragement.
1903, Richard Strauss created the opera Salome based on the work of the same name by the aesthete Wilde, which premiered in Dresden at the end of 1905. The story of this opera is absurd and immoral. In order to win the favor of the tenor who promised her to cut off the stubborn prophet's head, the soprano protagonist performed the "Seven Yarn Dance". She will cut off her head and put it in a silver plate. Then she will kiss the cut head. It was terrible. The soprano was finally crushed to death by a soldier's shield. This work full of horror and guilt is a sensation, but it is extremely controversial. It shocked public opinion, and even the German emperor thought it was a morbid work. But musically, it is the pinnacle of Richard Strauss's opera works. The exaggeration of music is similar to the explicit description in the script. He built a country house with the reward of this work.
In Strauss's works, the expression of "strength" and "passion" is emphasized, but the truth, goodness and beauty of art are ignored. Salome's one-act play 1908, Richard Strauss met the Austrian poet and dramatist Hugo von Hoffman Starr and began to cooperate with him. Their first work together was Elektra, which was more external than Salome and caused the same sensation and attack. Elektra tells the story of Agamemnon, the ancient Greek king, who was murdered by his queen and adulterer. Electra, her daughter, lived in a cowshed to avenge her father, and was regarded as a monster. With the help of her younger brother, she killed her enemy and died in ecstasy. This long one-act play runs through hatred and hatred of insanity. Although music gives people strange and horrible sensory stimulation, it also shows Strauss's skills in creating musical ideas and describing events and characters with instrumental sounds.
19 10, they finished the three-act comedy opera der rosenkavalier. 19 1 1 performed in Dresden, which was widely appreciated by the opera community. It describes a series of interesting stories, which are caused by the events between Martha Lin, the Duchess of Wittenberg and Count Octavian. The musical style of der rosenkavalier tends to be romantic, and its melody draws lessons from the melodies of folk songs and dance music in southern Germany. The arias and duets in the play are beautiful, full of human feelings and sense of humor. This is an opera that returns to tradition. It has become a repertoire in Richard Strauss's opera works, with the most performances.
Since then, he has created Ariadne of Naxos (19 16), Woman without Shadow (19 19), Episode (1927) and Helen of Egypt (. Since then, Strauss has spent several years in contradiction and compromise. He maintained a relationship of resistance and cooperation with the Nazi Party. During this period, he wrote several operas, some of which were used by the Nazi Party. 1945, after World War II, Strauss went into exile in Switzerland. 1947, informal part rehabilitated. 1948, allowed to return to Germany. 1949, aged 85.
Richard Strauss wrote 15 operas. The musical style of Strauss's opera works is not uniform. He called his work "drama", which means it is neither a traditional opera nor a musical. Some works are influenced by Wagner's music creation techniques, with obvious traces of Wagner's style. Music is sharp and scary, and harmony gives people a sense of disorder, which is also the main reason why plays such as Salome are shocking. Others have romantic elements, more beautiful melody and softer style.
Richard Strauss's music appeared at the turn of two centuries. It not only describes the pain and struggle of people in the last century, but also describes the joy and confusion of people in the next century. /kloc-Romanticism in the 0/9th century and popularity in the 20th century have borne fruit in Richard strauss's music-a sweet and bitter flower of art. Der rosenkavalier: The Best Marshal's Wife in History-schwarzkopf/Straw. The foundation of post-romantic ecological aesthetics has the characteristics of pluralism and equality, and its core is the harmonious survival of the whole. In view of the shortcomings of post-romantic ecological aesthetics in various aspects, after realizing the four-cycle stage of God, demigod, hero and man, the artistic theme has turned to a new stage of God with the repetition and symbolic embodiment of the prototype theme, realizing aesthetic strangeness in aesthetic attitude and establishing the "state" of aesthetic culture in the aesthetic dimension, thus showing the cycle mode of "winter goes and spring comes" contained in the history of China literature, namely.