Eksempler på brug af Maskarade på Dansk og deres oversættelser til Engelsk
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Droppet hans lille ynkelige maskarade.
Maskarade har fulgt mig hele mit liv.
Carl Nielsen: Maskarade, Saul og David.+….
Carl Nielsen: Masquerade, Saul and David, The….Maskarade opfattes af mange som den danske nationalopera.
Masquerade is viewed by many people as the Danish national opera.Dacapos nye udgivelse af Maskarade sætter traditionen ind i en moderne ramme.
Dacapo's new release of Maskarade continues the tradition in a modern setting.Han skal herefter synge Figaro i Mozarts Figaros bryllup på Den Fynske Opera og Henrik i Maskarade på Det Kongelige Teater.
After the tour he is going to sing Figaro in Mozart's Marriage of Figaro at the Funen Opera and Henrik in Maskarade at the Royal Theatre.Og Maskarade bygger en enestående bro mellem det folkelige og den elitære kunst.
And Maskarade builds a unique bridge between popular and elite art.Foruden sine to operaer Saul og David(1898- 1901) og Maskarade(1905- 06) skrev han musik til mange skuespil.
Besides his two operas Saul and David(1898-1901) and Masquerade(1905-06), he wrote music for many plays.Det Kongelige Teater rykker ud i det sommervarme København under Copenhagen Opera Festival med en helt ny kammerudgave af Carl Nielsens elskede opera Maskarade.
The Royal Theatre comes out into the city during Copenhagen Opera Festival with a chamber version of Carl Nielsen's much loved opera Maskarade.Hanedansen fra Maskarade er et af Carl Nielsens mest populære stykker.
The Dance of the Cockerels from Masquerade is one of Carl Nielsen's most popular pieces.Udstillingen præsenterer publikum for viden om Carl Nielsens liv og værk, herunder specifikt om symfonierne,de folkelige sange og operaen Maskarade.
The exhibition presents the audience for knowledge about Carl Nielsen's life and work, specific including the symphonies,the popular songs and the opera'Masquerade.Skuespillet Willemoes skulle, i 1908, et par år efter Maskarade, fejre 100-året for den danske søhelt Peter Willemoes' død ved Sjællands Odde.
In 1908, a few years after Masquerade, the play Willemoes was written to commemorate the centenary of the death of the Danish naval hero Peter Willemoes at the Battle of Zealand Point.Det traf sig så mærkeligt, at Carl Nielsen blev nødt til at skrive det følgende værk, forspillet til Hr. Oluf han rider, og hele den øvrige scenemusik,samtidig med, at han var ved at indstudere Maskarade.
Oddly enough Carl Nielsen had to write the next work, the prelude to Sir Oluf, and all the other stage music for the piece,at the same time as he was rehearsing Masquerade.Hovedparten af Maskarade blev komponeret i 1905- i en mærkelig inspirationsrus, en vægtløs tilstand, som Carl Nielsen mange gange senere selv kunne undre sig over.
Most of Masquerade was composed in 1905- in a strange fit of inspiration, a state of weightlessness at which even Carl Nielsen himself expressed surprise many times later.Årene omkring århundredeskiftet bragte yderligere de to operaer Saul og David(1898-1901) og Maskarade(1904-06), af hvilke den sidste hurtigt nåede status som dansk nationalopera.
The years around the turn of the century brought a further two operas, Saul and David(1898-1901) and Maskarade(1904-06), the last of which quickly gained the status of a Danish national opera.Læs mere Køb/lyt Carl Nielsen Maskarade Nielsens sceniske mesterværk i klassisk indspilning med dirigenten John Frandsen Læs mere Køb/lyt Den Danske Revy 1945-50, Vol.
Read more Buy/listen Carl Nielsen Maskarade Nielsen's stage masterpiece in a classic recording with the conductor John Frandsen Read more Buy/listen Den Danske Revy 1945-50, Vol.Man kan tænke på karakteristiske enkeltværker som Nikolaus von Rezniceks ouverture til Donna Anna(1894) eller, efter Maskarade, Ermanno Wolf-Ferraris ouverture til Susannas hemmelighed 1909.
One thinks of characteristic individual works like Nikolaus von Reznicek's overture to Donna Anna(1894) or, after Masquerade, Ermanno Wolf-Ferrari's overture to Il segreto di Susanna 1909.Læs mere om Carl Nielsen- music is life Carl Nielsen: Letvægt Udstillingen præsenterer publikum for viden om Carl Nielsens liv og værk, herunder specifikt om symfonierne,de folkelige sange og operaen Maskarade.
Read more about Carl Nielsen- music is life Carl Nielsen: Lightweight The exhibition presents the audience for knowledge about Carl Nielsen's life and work, specific including the symphonies,the popular songs and the opera'Masquerade.Det samme gælder hans to operaer,Saul og David og Maskarade, måske pga. af den særprægede humor i Maskarade og begge værkers mangel på egentlige arier.
The same goes for his two operas,Saul og David and Maskarade, perhaps because of the distinctive humour of Maskarade and the absence of real arias from both works.Som i de to operaer syder orkestret af vittige kommentarer til handlingen gennem hele operaen, mentonesproget er helt umiskendelig Carl Nielsen. Maskarade har fulgt mig hele mit liv.
As in the two operas, the orchestra fizzles with witty comments on the action all the way through, butthe musical idiom is quite unmistakably Carl Nielsen's. Maskarade has in fact followed me all my life.Der er for mig ingen tvivl om, at Carl Nielsen hentede inspiration til Maskarade i Falstaff og Mester sangerne i Nürnberg- to operaer, han selv i de år som violinist i Det Kongelige Kapel var med til at spille på Det Kongelige Teater.
For me there is no doubt that Carl Nielsen drew inspiration for Maskarade from Falstaff and The Mastersingers of Nuremberg- two operas he himself had played in as a violinist in the Royal Danish Orchestra at the Royal Danish Theatre.Simon Duus er netop i disse uger med på Den Jyske Operas turne med Puccinis La Boheme(i Aarhus 12-16/11). Han skal herefter synge Figaro i Mozarts Figaros bryllup på Den Fynske Opera og Henrik i Maskarade på Det Kongelige Teater.
In those weeks Simon Duus is on tour with the National Opera and Puccini's La Boheme. After the tour he is going to sing Figaro in Mozart's Marriage of Figaro at the Funen Opera and Henrik in Maskarade at the Royal Theatre.Han har også sunget Henrik i Carl Nielsens Maskarade, Colline i Puccinis La bohème, Escamillo i Bizets Carmen, Dulcamara i Donizettis Elskovs-drikken, storinkvisitoren og munken i Verdis Don Carlos og Osmin i Mozarts Bortførelsen fra seraillet.
He has also sung Henrik in Carl Nielsen's Masquerade, Colline in Puccini's La Bohème, Escamillo in Bizet's Carmen, Dulcamara in Donizetti's L'elisir d'amore, the Grand Inquisitor and the Monk in Verdi's Don Carlos, Osmin in Mozart's Die Entführung aus dem Serail and Klingsor in Parsifal.I de senere år har han medvirket i tv-optagelserne fra Det Kgl. Teater,bl.a. som 1. præst i Tryllefløjten, Lygtetænderen i Manon Lescaut og Arv i Maskarade samt i radiotransmissionen af Hoffmanns Eventyr fra Operaen.
In recent years he has appeared in TV recordings from the Royal Theatre, for example as First Priest in The Magic Flute,the Lamplighter in Manon Lescaut and Arv in Maskarade as well as the radio broadcast of Tales of Hoffmann from the Opera.De samlede kammerværker for violin- noget af Nielsens mest eksperimenterende musik Carl Nielsen Maskarade(DVD) Den Kongelige Danske Operas rebelske, vittige opsætning af Nielsens skønne opera Maskarade Carl Nielsen, C.E.F. Weyse, J.P.E. Hartmann, P.E. Lange-Müller, F.L. Ae.
The collected chamber works for violin- some of Nielsen's most experimental music Carl Nielsen Maskarade(DVD) The Danish national opera in a rebellious, witty new interpretation Carl Nielsen, C.E.F. Weyse, J.P.E. Hartmann, P.E. Lange-Müller, F.L. Ae.I utallige sange og viser, som kendes og synges af snart sagt alle danskere,skabte han en tone, der synes altid at have været til stede i den fælles danske bevidsthed. Og Maskarade bygger en enestående bro mellem det folkelige og den elitære kunst.
In a wealth of songs that are known and sung by well nigh all Danes,he forged a tone that seems always to have been present in shared Danish consciousness. And Maskarade builds a unique bridge between popular and elite art.Årene omkring århundredeskiftet bragte yderligere de to operaer Saul og David(1898-1901) og Maskarade(1904-06), af hvilke den sidste hurtigt nåede status som dansk nationalopera. Fra 1901 kom han på finansloven, hvilket betød, at han ikke længere var tvunget til at tage privatelever for at opretholde familiens økonomi.
The years around the turn of the century brought a further two operas, Saul and David(1898-1901) and Maskarade(1904-06), the last of which quickly gained the status of a Danish national opera. From 1901 he was granted a Government salary, which meant that he was no longer forced to take private pupils to keep up the family finances.Han programsatte med jævne mellemrum værker af sig selv.De større kompositioner kunne kun spilles på symfonikoncerterne, mens værker som ouverturen til“Maskarade” eller uddrag af“Aladdin” også kunne opføres på orkestrets populærkoncerter.
Works of his own were regularly included in these programmes; the major compositions could only be played at the symphony concerts, butworks such as the overture to“Masquerade” or extracts from“Aladdin” could also be performed at the orchestra's Popular Concerts.Med dette værk begyndte Carl Nielsens musik for alvor at nå ud til det brede publikum.Hovedparten af Maskarade blev komponeret i 1905- i en mærkelig inspirationsrus, en vægtløs tilstand, som Carl Nielsen mange gange senere selv kunne undre sig over. Formentlig kom den fra Vilhelm Andersens fremhævelse af det dionysiske hos Holberg.
With this work Carl Nielsen's music began in earnest to reach out to the general public.Most of Masquerade was composed in 1905- in a strange fit of inspiration, a state of weightlessness at which even Carl Nielsen himself expressed surprise many times later. Presumably this came from Vilhelm Andersen's emphasis on the Dionysian aspect in Holberg.Pr. korrespondance havde han samtidig forsøgt at få sceneinstruktøren Julius Lehmann, der havde stået for opsætningen af"Saul og David", ogsom siden også skulle iscenesætte"Maskarade", til at påtage sig at skrive teksten til et nyt korværk, kaldet Søvnen.
Meanwhile, he had written to Julius Lehmann and tried to persuade him to provide the text of a new choral work to be called Sleep. Lehmann was the theatre director who had been responsible forthe production of"Saul and David" and who was later to stage"Masquerade" too.
