Albert Lortzing

Biography

Born: October 23, 1801; Berlin, Germany   Died: January 21, 1851; Berlin, Germany  
Albert Lortzing is remembered chiefly for his 1837 opera Zar und Zimmermann, but he also wrote other works of artistic merit, including the operas Undine (1845) and Rolands Knappen (1849). His greatest strength lay in the realm of comic opera, where he developed a style that fused elements from the French opéra-comique genre with those of the German singspiel. When he ventured into more serious subject matter, as in his opera, Regina (1848), he Read more often lost his way. Lortzing also wrote a small number of orchestral and choral works.

Lortzing was born on October 23, 1801, in Berlin. His parents were amateur actors, thus drawing their precocious only child (a sister died in infancy) to the stage. Young Albert's first love, however, was music, and he showed remarkable talent for it in his early childhood. He would begin composing small pieces and eventually take piano lessons from J. H. Greibel. He also took instruction in theory from Rungenhagen.

Lortzing's father sold the family tannery business in 1812 to take up acting professionally with his wife, while young Albert continued studying composition (largely on his own), as well as violin and cello. He also began taking children's parts on the stage. Over the next several years, the family moved to a number of locales: Bamberg (1813), Strasbourg (1814), Bonn (1817), and elsewhere. Lortzing had already written several ambitious scores by 1817, including music for the Kotzebue play Der Schutzgeist. In 1820, he wrote the Andante maestoso con variazioni, for horn and orchestra. Other significant compositions followed, and the composer also began courting an actress, Rosina Regina Ahles, whom he married on January 30, 1823.

Lortzing continued his acting, singing, and composing careers, appearing in plays, often with his wife and parents, and turning out works like the 1829 Die Himmelfahrt Jesu Christi. A string of singspiels from 1832, including Der Pole und sein Kind and Szenen aus Mozarts Leben, all use music from other sources.

Lortzing wrote his first comic opera, Die Beiden Schützen in 1835, staged two years later with great success in Berlin and other German cities. His greatest success came next, however, with the aforementioned Zar und Zimmermann; it was performed the same year, but achieved widespread success beginning in 1839. Other notable operas followed, too -- Der Wildschütz (1842), for example -- while Lortzing continued singing and acting. By now he was a dissatisfied producer, covetous of a conducting post. In 1844, he got his wish, becoming kapellmeister at the Leipzig Stadttheater. But he did not perform well in the post and was dismissed in 1846. Immensely popular from his operas, however, he quickly received the appointment as kapellmeister at the Theater an der Wien, where his new opera Der Waffenschmied was premiered in May that year. But, as in Leipzig, Lortzing began experiencing setbacks: he was unable to get Regina performed (and never did in his lifetime), and was dismissed in September of that year.

Lortzing took up his last directorship in April, 1850, at the Friedrich-Wilhelmstadt Theater in Berlin. His last opera was premiered in Frankfurt am Main in January 1851; he died the following day from a stroke, leaving his wife and 11 children in financial difficulty. Read less

There are 115 Albert Lortzing recordings available.

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Works

Albert Lortzing


MOST POPULAR WORKS
WORKS
Ouverture
Act I: Introduction: Wir wollen nicht (Chorus, Kilian, Richard)
Act I: Recitative and Duet: O teurer Freund, ich horte alles (, Richard)
Act I: Chorus, Arioso and Quintet: Vivat! Vivat! (Chorus, Simon, , Beate, Richard, Kilian)
Act I: Dialog: Na, wann wird denn die Hochseit sein? (Kilian, Beate, Simon Stephan)
Act I: Recitative and Aria: Was sprach der alte Tor (Stephan)
Act I: Dialog: Die Frabrik des reichen Simon ... (Wolfgang, Stephan)
Act I: Finale: Jauchzet den Stunded des Festes entgegen (Chorus, Beate, Kilian, Stephan, Wolfgang, , Richard)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster): Ouvertüre (Orchester)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Greifet an und rührt die Hände (Iwanow - Zar - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Die Eifersucht sit eine Plage (Marie)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Verraten! Von euch verraten! (Zar)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: O Sancta Justitia, ich möchte rasen (van Bett)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Laßt ruhen die Arbeit, das zeichen ertönt (Chor - van Bett - Zar - Iwanow)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Darf ich wohl den Worten trauen (Iwanow - van Bett)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Erster Akt: Das Fest beginnt, seid ihr bereit und fertig? (Zar - Marie - Iwanow - Marquis - Meisterin Browe - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Hoch lebe die Freude (Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Lebe wohl, mein flandrisch' Mädchen (Marquis - Marie - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Zum Werk, das wir beginnen (Marquis - Iwanow - Zar - Lefort - van Bett - Lord Syndham)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Lieblich röten sich die Wangen (Marie - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Zweiter Akt: Schon seit geraumer Zeit bemerk' ich hier Gesichter (van Bett - Marie - Meisterin Browe - Marquis - Iwanow - Zar - Lefort - Lord Syndham - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Den hohen Herrscher würdig zu empfangen (Singschule: van Bett - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Sonst spielt' ich mit Szepter, mit Krone und Stern (Zar)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Darf eine nied're Magd es wagen (Marie - Iwanow)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Schmücket mit Kränzen (Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Ballett: Holzschuhtanz (Orchester)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Erhab'ner Held (van Bett - Marie - Iwanow - Chor)
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: Dialog
Zar und Zimmermann · Komische Oper in 3 Akten (1995 Digital Remaster), Dritter Akt: So scheid' ich denn von euch (Zar - Marie - Iwanow - Meisterin Browe - van Bett - Chor)


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