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' (''Need for (or lack of) fire)'',〔The use of ''Feuersnot'' as title for this work where it indicates a lack of fire is a reversal of the word's normal meaning, ''blaze'', ''conflagration''.〕 Op. 50, is a ''Singgedicht'' (sung poem) or opera in one act by Richard Strauss. The German libretto was written by Ernst von Wolzogen, based on J. Ketel's report "Das erloschene Feuer zu Audenaerde".〔F. A. Brockhaus, (ed.) ,("Das erloschene Feuer zu Audenaerde" ) in ''Niederländische Sagen'', Leipzig, 1843, pp. 492—495〕 It was Strauss' second opera. Thematically, the opera has been interpreted as a parody of Richard Wagner's idea of "redemption through love", with the character of Kunrad representing Strauss himself.〔Morten Kristiansen, ("Richard Strauss, ''Die Moderne'', and the Concept of ''Stilkunst''" ), ''The Musical Quarterly'', 86], 689–749 (2002).〕 The conceptual framework for the opera stems from the Nietzschean perspective that had inspired Strauss in his tone poems ''Till Eulenspiegel'' and ''Also sprach Zarathustra''.〔Bryan Gilliam, "Strauss and the sexual body: the erotics of humour, philiosophy and ego-assertion", ''The Cambridge companion to Richard Strauss'', (Ed. Charles Youmans), Cambridge University Press, 2010 ISBN 978-0-521-72815-7, p. 271.〕 Strauss and von Wolzogen shared the view that the source of inspiration was material not transcendental: in Feuersnot it is "redemption through sex" which relights the creative fire. ==Performance history== The librettist for the opera was Ernst von Wolzogen, who in 1901 founded the Überbrettl venue (German for "overcabaret, super-cabaret"), the start of the German Kabarett movement which was later to blossom in the Weimar Republic. The mood matched Strauss's desire for something irreverent and cynical, with much word-play (including the names of Wagner and Strauss), and a children's chorus singing “stanzas of quasi folk-song in broad dialect”.〔Norman Del Mar, ''Richard Strauss: a critical commentary on his life and works'', Volume 1, Faber and Faber, London 1986, ISBN 978 0 571 25096 7, p. 207〕 What struck the contemporary audiences most was the bawdiness and innuendo. There was much pressure on the composer to tone it down, but Strauss and the conductor of the premiere in Dresden, Ernst von Schuch, stuck to the original. At this time, the sexual and erotic subtexts and psychology were disturbing to audiences, as well as the perceived "advanced" nature of the music itself to more conservative-minded musicians.〔Julie Dorn Morrison, "Mahler, Strauss, and ''Feuersnot'': Emblems of Modernity at the Vienna Court Opera". ''The Opera Quarterly'', 15, 377–389 (1999).〕 The premiere at the Dresden Court Opera on 21 November 1901 was a great success: Gustav and Alma Mahler attended and she recalls in her diary that Strauss was elated “after endless curtains”.〔Alma Mahler (1990), ''Gustav Mahler: memories and letters'', London: Cardinal, London. ISBN 0 7474 0317 1, p. 27〕 The success in Dresden led to ''Feuersnot'' being staged in many theaters across Germany, including a performance in Frankfurt conducted by Strauss himself.〔Kurt Wilhelm, ''Richard Strauss: An Intimate Portrait'', (translated by Mary Whittall), Thames and Hudson, 1989. (first edition 1984 ), London, ISBN 0-500-01459-0. pp. 80—81.〕 Mounting the opera in Vienna proved more problematic for Gustav Mahler because of the need to satisfy the uncooperative censor. Mahler wrote to Strauss in mid 1901: “Concerning ''Fueuresnot'', the censor seems, horrible dictum, to be making difficulties, since the work has not yet been passed, so that I am not in a position to send the contracts to Fuerstner. I fear you may have to accept changes....Alas, there is no placating these powers”.〔Herta Blaukopf (ed.), ''Gustav Mahler Richard Strauss: correspondence 1888–1911'' (translated by Edmund Jephcott) London: Faber and Faber, 1984, ISBN 0-571-13344-4, p. 53.〕 The Viennese premiere finally took place in 29 January 1902 with Strauss attending. He wrote to Mahler "to send you my heartfelt thanks for the incomparably beautiful rendition you gave of my work last week…"(letter 4 Feb 1902). The Viennese public and critics were less enthusiastic than the German: Max Graf wrote "The critics have unanimously rejected the work".〔''Gustav Mahler Richard Strauss: Correspondence'', p. 67.〕 Mahler wrote to Strauss on the 18 February "I am so disgusted at the attitude of the Viennese press,and most of all by the public's total acquiescence to them, that I cannot get over it!". He took the work off after four disappointing turn-outs, although he did put on one further performance that year on 14 March (with a "popular ballet"). Strauss took the opera to Berlin where it was more of a success with seven performances, the premiere being on 28 October 1902.〔A.K., "Richard Strauss's ''Feuersnot'' in Berlin", ''The Musical Times and Singing Class Circular'', 43(718), 1 December 1902, pp. 808—809.〕 However, the Empress (Kaiserin) took a dislike to the bawdiness and Emperor (Kaiser) Wilhelm had the opera banned. Strauss continued to include the music from the love scene in his orchestral concerts. The opera was revived twice at Vienna, first in 1905 by Mahler with a new production running for 7 performances〔''Gustav Mahler Richard Strauss: Correspondence'', pp. 80—81〕 and in 1922 by Strauss himself with 6 performances.〔Raymond Holden, ''Richard Strauss: a musical life''. Yale University Press, New Haven and London 2014, ISBN 978-0-300-12642-6, p. 208〕 Strauss wrote towards the end of his life "…in nearly all of the biographical articles I read I miss the correct attitude towards ''Feuersnot''. One forgets that this certainly far from perfect work still introduces into the nature of the old opera a new subjective style at just the very beginning of the century. It is in its way a sort of upbeat."〔Norman Del Mar, ''Richard Strauss: a critical commentary on his life and works'', Volume 1, Faber and Faber, London 1986, ISBN 978 0 571 25096 7, p. 234.〕 In London it was presented on 9 July 1910,〔Holden, Amanda (Ed.), ''The New Penguin Opera Guide'', New York: Penguin Putnam, 2001. ISBN 0-14-029312-4, p. 888〕 while the US premiere was not given until 1 December 1927 by the Philadelphia Civic Opera Company at Philadelphia's Metropolitan Opera House with George Rasely as Gundelfingen and Alexander Smallens conducting.〔Olin Downes, ("Strauss Opera has American Premiere; ''Feuersnoth'', in One Act, Is Sung by the Philadelphia Civic Company. Laid In Twelfth Century ''Die Maeinkonigen'', a Pretty Pastoral Work by Gluck, Also Given Before Brilliant Audience" ), ''The New York Times'', December 1, 1927〕 The Zürich premiere did not take place until 1953.〔Willi Schuh, "Richard Strauss and Zürich", ''Tempo'' (New Ser.), 29, pp. 10–13 (Autumn, 1953).〕 The New York City premiere took place in 1985, at the Manhattan School of Music.〔Donal Henehan, ("''Feursnot'', Strauss One-Act" ), ''The New York Times'', 13 December 1985〕 It was presented by The Santa Fe Opera during its summer 1988 festival season. In the UK, Chelsea Opera Group presented a concert performance in 2000.〔Tim Ashley, ("''Feuersnot'' (review)" ), ''The Guardian'' (London), 30 November 2000〕 The Teatro Massimo staged the opera in January 2014,〔(''Feuersnot'' ), performance details, photographs, video trailer, synopsis (in Italian)〕 and there were concert performances the same year given by Bayerischer Rundfunk at Munich in February,〔("Richard Strauss' ''Feuersnot'' ), conducted by Ulf Schirmer, video recording, 26 January 2014〕 in June by Dresden Semperoper.〔(''Feuersnot'' ), performance details, Semperoper〕〔José Mª Irurzun, ("Strauss's ''Feuersnot'': A Strong Performance All Around" ), on ''Seen and Heard International'', 10 June 2014〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Feuersnot」の詳細全文を読む スポンサード リンク
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