Die Opernprobe by Albert Lortzing: a Critical Edition Page: 1
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INTRODUCTION
The period of time between 1830 and 1850 was a bleak
one for German opera. Social and political fragmentation
had thwarted attempts by a group of critics, students, and
artists to found a unified German operatic style, and,
despite the isolated successes of a few works by a handful
of composers, discouragement gave way to bitterness among
the members of the progressive movement. Heinrich
Marschner wrote in 1851, "Unfortunately, my struggles
remained isolated, unsupported, and my strength was too weak
to protect the German stage, which was degenerating from
year to year... into a maid of easy virtue from the
penetration of foreign [styles]."1 A report published in
1849 by Julius Cornet, then director of the Hamburg opera,
stated that, of the almost eighty works in the standing
repertoire of German theaters, only twenty-three of these
were by German composers, and only nine were by living
German composers.2
1Quoted in Ludwig Schiedermair, Dit g.
dzgihre~e..MxdnaAnW.. n (Leipzig: QueI e &
Meyer, 1930), 235.
2 Julius Cornet, Di.....t.ahhn.
.&eiz.Aiawztit (Hamburg: Meissner & Schirges, 1849), 57-59.1
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McDaniel, Jan (Pianist). Die Opernprobe by Albert Lortzing: a Critical Edition, thesis, August 1990; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc503969/m1/5/?rotate=180: accessed July 18, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .