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FULL Das Paradies und die Peri (Schumann) Cologne 2023 Siobhan Stagg, Claudia Mahnke, Jan Petryka, Florian Boesch
Popular Singers in this Opera Recording
Information on the Performance
- Work Title: Das Paradies und die Peri
- Composer: Schumann Robert
- Libretto: based on a German translation (by Schumann and his friend Emil Flechsig) of a tale from Lalla-Rookh by Thomas Moore
- Venue & Opera Company: Kölner Philharmonie, Köln, Germany
- Recorded: January 17, 2023
- Type: Concert Live
- Singers: Siobhan Stagg, Marie-Sophie Pollak, Claudia Mahnke, Jan Petryka, Maximilian Schmitt, Florian Boesch
- Conductor: François-Xavier Roth
- Orchestra: Gürzenich-Orchester Köln
- Chorus: Chorwerk Ruhr
- Chorus Master: Julia Selina Blank
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: guerzenich-orchester.de
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Quote from Wikipedia:
Das Paradies und die Peri, is a secular oratorio for soloists, choir, and orchestra by Robert Schumann. Completed in 1843, the work was published as Schumann’s Op. 50.
The work is based on a German translation (by Schumann and his friend Emil Flechsig) of a tale from Lalla-Rookh by Irish poet and lyricist Thomas Moore. The peri, a creature from Persian mythology, is the focus of the story, having been expelled from Paradise and trying to regain entrance by giving the gift that is most dear to heaven. Eventually the peri is admitted after bringing a tear from the cheek of a repentant old sinner who has seen a child praying.
Peter Ostwald in his biography Schumann: The Inner Voices of a Musical Genius records that Schumann “confided to a friend that ‘while writing Paradise and the Peri a voice occasionally whispered to me “what you are doing is not done completely in vain,”‘” and that even Richard Wagner praised this work. The cantata is generally held to be a significant achievement by Schumann, and it perhaps appeals less than it might otherwise to modern audiences due to the flowery, Eastern-inspired verbiage of the libretto, which represents a vogue for orientalism that was in full swing in the 19th century but has receded considerably today. This oratorio premiered under the composer’s baton on 4 December 1843 in Leipzig. It was well received, and performances in Dresden and Berlin followed.