| Der Schauspieldirektor | |
|---|---|
| Singspiel byW. A. Mozart | |
 The composer, drawing byDora Stock, 1789 | |
| Translation | The Impresario |
| Librettist | Gottlieb Stephanie |
| Language | German |
| Premiere | |
Der Schauspieldirektor (The Impresario),K. 486, is a comicsingspiel byWolfgang Amadeus Mozart, set to a Germanlibretto byGottlieb Stephanie, an AustrianSchauspieldirektor. Originally, it was written because of "the imperial command" of theHoly Roman EmperorJoseph II who had invited 80 guests to a private luncheon.[1]It is regarded as "a parody on the vanity of singers",[1] who argue over status and pay.
Mozart, who describes it as "comedy with music"[2] wrote it as his entry in a musical competition which was given a private performance hosted on 7 February 1786 by Joseph II at theSchönbrunn Palace in Vienna.[3] This competition pitted a Germansingspiel, presented at one end of the room, against a competing Italian opera, the Italian entry beingAntonio Salieri'sopera buffa,Prima la musica e poi le parole (First the Music, then the Words), which was then given at the other end of the room.[1] The premiere was followed by the first of three public performances given four days later at theKärntnertor Theater, Vienna, on 11 February.[3]
The autograph manuscript of the opera is preserved in theMorgan Library & Museum.
The work was written during a very creative period in Mozart's life, at the same time as hisLe nozze di Figaro, which premiered later the same year, along with three piano concertos and "another dozen major works".[1]
In addition to theoverture, there are only four vocal numbers in the score, and the musical content (about 30 minutes)[4] is surrounded by much spoken dialogue, typical in its day. One highlight, whichErik Smith describes as very funny, is where "each lady sings about the nobility of her art while trying to defeat her rival with ever higher notes".[1] Although it has been described as a "silly farce", Mozart appears to have taken the opportunity to write serious arias[2] and thus the "audition" of Madame Herz includes her aria "Da schlägt die Abschiedsstunde" ("There tolls the hour of departure"), while Mme Silberklang sings the elegantrondo, "Bester Jüngling" ("Dearest Youth").[2]
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The opera was first presented in the United Kingdom on 30 May 1857 at theSt James's Theatre in London and given its US premiere at theStadt Theatre in New York on 9 November 1870.[1]
In modern times, the text is usually completely rewritten for contemporary relevance, which was the case for the 2014 production given by theSanta Fe Opera. There it had "English dialogue by the British dramatistRanjit Bolt and additional Mozartconcert arias folded into the score" with the action taking place in Paris in the 1920s.[5]The cast includedAnthony Michaels-Moore,Brenda Rae, Meredith Arwady, andErin Morley.[6]
The 1966 recording by theEnglish Chamber Orchestra (conducted byAndré Previn), was performed with an English libretto penned by Previn's then wifeDory Previn, who transplanted the amusing tale to the 20th century.[7]
Bronx Opera performed it in 1972, 2008, and in 2021, due to theCOVID-19 pandemic, as a video version inZoom format.[8]
| Role | Voice type | Premiere cast, 7 February 1786[3] |
|---|---|---|
| Frank,an impresario | spoken role | Johann Gottlieb Stephanie Jr. |
| Eiler,a banker | spoken role | Johann Franz Brockmann [de] |
| Buff,a buffo singer | bass | Giuseppe Weidmann |
| Monsieur Vogelsang,a singer | tenor | Valentin Adamberger |
| Madame Herz,a singer | soprano | Aloysia Weber |
| Mademoiselle Silberklang,a singer | soprano | Caterina Cavalieri |
| Herz,an actor | spoken role | Joseph Lange |
| Madame Pfeil,an actress | spoken role | Anna Maria Stephanie[9] |
| Madame Krone,an actress | spoken role | Johanna Sacco |
| Madame Vogelsang,an actress | spoken role | Maria Anna Adamberger |
Frank, the impresario (along with the buffo singer, Buff, who assists him) auditions two actresses to be part of his new theatrical company. While both are hired, they then argue over who will get the prime role and who will be paid the most. To illustrate their strengths, each sings a striking aria to back her claim (Herz: "Da schlägt die Abschiedsstunde", Silberklang: "Bester Jüngling"). An agreement is reached when the tenor, Vogelsang, intervenes, in whatJulian Rushton describes as a hilarious trio, "Ich bin die erste Sängerin" (I am theprima donna) compromise is agreed to with each receiving "large salaries and star billing".[2] The work ended with the quartet "Jeder Künstler strebt nach Ehre" (Every artist strives for glory).
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