- Osborne, Charles. The Complete Operas of Richard Strauss. London:
O’Mara, 1988. vi, 248p. ISBN 0-948397-51-9. ML410 .S93 O31.
A popular-style consideration of genesis, reception, and synopses with pro-
gram notes. No footnotes; token bibliography, index. - Schlötterer, Roswitha. “Zum Gesangstil in den Opern von Richard Strauss.”
Richard Strauss-Blätter36 (December 1996): 52–82.
Considers four singing styles: seccorecitative, accompanied recitative, aria,
and ensemble, giving the composer’s ideas on their performance. He used them
freely out of their traditional historical contexts. - Jefferson, Alan. “Richard Strauss’s Operas Performed in Great Britain.”
Richard Strauss-Blätter15 (June 1986): 104–179.
Updates an earlier list in The Operas of Richard Strauss in Great Britain,
1910–63(London: Society for Theatre Research, 1963), covering here 1910– - Chronology, casts, programs.
See also #255, #309, and #1695.
Individual Works
Die ägyptische Helena
- Lesnig, Günther. “70 Jahre Die ägyptische Helena.” Richard Strauss-Blätter
38 (December 1997): 3–67.
Unsuccessful at first, the opera gained popularity and has had more than 350
performances worldwide. This is a detailed chronicle of them, with casts.
Arabella
ASO170 (1996), COH 1989, ENOG 30 (1985).
- BogosavljeviV, Srdan. “Hofmannsthal’s ‘Mythological’ Opera Arabella.” In
Theatre and Performance in Austria from Mozart to Jelinek,ed. Ritchie
Robertson and Edward Timms, 73–80 (Edinburgh: Edinburgh U.P., 1993; PN
2611 .T48).
“Arabellais a myth of conservative restoration.” In 1927 Hofmannsthal was
concerned about growing liberalism in Austria and wanted to show the coun-
try as the “quintessence of European consciousness.” This idea became
involved with the Slavs, seen by the poet as “natural” people in the Austrian
family. Thus the opera hero is Mandryka, a Slav who dominates the story. - Prochazka, Thomas. “60 Jahre Arabellaan der Wiener Staatsoper.” Richard
Strauss-Blätter30 (December 1993): 53–83.
Traces the vacillating fortunes of the opera through reviews and contemporary
documents. Recent public opinion is divided. Critics seem to be concentrating
on the staging rather than the music. - Lesnig, Günther. “50 Jahre Arabellaan der Wiener Staatsoper.” Richard
Strauss-Blätter9 (June 1983): 77–89.
Without overlapping the previous entry, lists the casts of all performances in
chronological order.
Richard Strauss 323