Composer

:

Siegfried Wagner

Genre

:

Opera

Style

:

Opera

Compose Date

:

1915

"An allem ist Hütchen Schuld" is an opera composed by Siegfried Wagner, the son of the famous composer Richard Wagner. The opera was composed in 1913 and premiered on August 15, 1913, at the Bayreuth Festival. The libretto was written by Franz von Schönthan and Paul Knepler. The plot of the opera revolves around the character of Hütchen, a mischievous and playful young man who is always getting into trouble. Hütchen is in love with a young woman named Lilli, but she is engaged to another man, a wealthy banker named von Schwanenfeld. Hütchen is determined to win Lilli's heart and devises a plan to sabotage von Schwanenfeld's reputation and win Lilli's hand in marriage. The opera is divided into three movements, each with its own distinct musical style and tone. The first movement is a lively and playful scherzo, reflecting Hütchen's mischievous nature. The second movement is a romantic and lyrical adagio, reflecting Hütchen's love for Lilli. The final movement is a dramatic and intense finale, as Hütchen's plan to win Lilli's heart comes to a head. One of the characteristics of "An allem ist Hütchen Schuld" is its use of leitmotifs, a technique made famous by Siegfried's father, Richard Wagner. Leitmotifs are musical themes that are associated with specific characters, objects, or ideas in the opera. In "An allem ist Hütchen Schuld," leitmotifs are used to represent Hütchen, Lilli, and von Schwanenfeld, as well as other key elements of the plot. Another characteristic of the opera is its use of humor and satire. The character of Hütchen is a comedic figure, and his antics provide much of the opera's humor. The opera also satirizes the upper-class society of the time, particularly the wealthy bankers who are portrayed as greedy and corrupt. Overall, "An allem ist Hütchen Schuld" is a lively and entertaining opera that showcases Siegfried Wagner's talent as a composer. While it may not be as well-known as his father's works, it is still a valuable contribution to the operatic canon.

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