Zurich Opera - History

History

Wilhelm Furtwängler began his career there, and in 1913 Richard Wagner’s Parsifal was given its first performance outside Bayreuth. Ferruccio Busoni, Paul Hindemith, Richard Strauss, Othmar Schoeck, Arthur Honegger, Frank Martin and other famous composers all left their mark on the development of Zurich’s musical theatre. Zurich Opera House has been the setting for numerous world premières, such as Alban Berg’s Lulu, Paul Hindemith’s Mathis der Maler, Arnold Schönberg’s Moses und Aron. Works by Heinrich Sutermeister, Giselher Klebe and Rudolf Kelterborn were also performed here for the first time.

From 1975 to 1986, Claus Helmut Drese was artistic director of the company. His artistic standards led the company to gain international recognition, through the presentation of the Monteverdi cycle, with Nikolaus Harnoncourt as conductor and Jean-Pierre Ponnelle as director and set designer.

Since the 1991/92 season, Alexander Pereira has been the company's General Director; his tenure opened with Lohengrin, in a production by Robert Wilson. He has placed great emphasis on promoting promising young artists and new types of performances.

The Zurich Festival has been in existence since the autumn of 1996 with Pereira as Artistic Director; the first Festival was held in the summer of 1997.

Read more about this topic:  Zurich Opera

Famous quotes containing the word history:

    There is no example in history of a revolutionary movement involving such gigantic masses being so bloodless.
    Leon Trotsky (1879–1940)

    Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.
    Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)

    Throughout the history of commercial life nobody has ever quite liked the commission man. His function is too vague, his presence always seems one too many, his profit looks too easy, and even when you admit that he has a necessary function, you feel that this function is, as it were, a personification of something that in an ethical society would not need to exist. If people could deal with one another honestly, they would not need agents.
    Raymond Chandler (1888–1959)