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Weinberg's Russian-language opera adapts Sholem Aleichem's play Mazel Tov. Its plot closely follows the play and emphasizes class conflict.
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Weinberg's Russian-language opera adapts Sholem Aleichem's play Mazel Tov. Its plot closely follows the play and emphasizes class conflict.
Weinberg's Russian-language comic opera adapts George Bernard Shaw's play Passion, Poison and Petrifaction. It is a one-act work with opus number 112.
Weinberg's Russian-language opera adapts Fyodor Dostoyevsky's novel The Idiot. The work is described as a four-act opera in ten scenes and received its world premiere in Mannheim in 2013.
Weinberg's Russian-language comic opera is based on Alexandre Dumas's The Three Musketeers. It was the third of the composer's first three operas.
Weinberg's second opera, with a Russian-language libretto by Alexander Medvedev, was composed in 1970. It has opus number 105.
Aboard a postwar ocean liner, Lisa recognizes a passenger who recalls Marta, a prisoner she once guarded at Auschwitz, and reveals her hidden past to her husband Walter. The action shifts between the ship and the camp, where Lisa tries to control Marta and her fiancé Tadeusz. Tadeusz refuses to play the Kommandant’s requested waltz and instead performs Bach’s Chaconne before being taken to his death; the final encounter between Lisa and Marta remains ambiguous.
Weinberg's Russian-language opera adapts Sholem Aleichem's play Mazel Tov. Its plot closely follows the play and emphasizes class conflict.
Weinberg's Russian-language comic opera adapts George Bernard Shaw's play Passion, Poison and Petrifaction. It is a one-act work with opus number 112.
Weinberg's Russian-language opera adapts Fyodor Dostoyevsky's novel The Idiot. The work is described as a four-act opera in ten scenes and received its world premiere in Mannheim in 2013.
Weinberg's Russian-language comic opera is based on Alexandre Dumas's The Three Musketeers. It was the third of the composer's first three operas.
Weinberg's second opera, with a Russian-language libretto by Alexander Medvedev, was composed in 1970. It has opus number 105.
Aboard a postwar ocean liner, Lisa recognizes a passenger who recalls Marta, a prisoner she once guarded at Auschwitz, and reveals her hidden past to her husband Walter. The action shifts between the ship and the camp, where Lisa tries to control Marta and her fiancé Tadeusz. Tadeusz refuses to play the Kommandant’s requested waltz and instead performs Bach’s Chaconne before being taken to his death; the final encounter between Lisa and Marta remains ambiguous.
The penniless artist Chartkov finds a magical painting that offers him wealth and fame. He chooses its assistance over making his own way through his talent, but comes to regret his decision.