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| 3/5 Fri Mar 05 2010 | 8:00 PM |
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| 3/6 Sat Mar 06 2010 | 8:00 PM |
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| 3/7 Sun Mar 07 2010 | 2:00 PM |
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| 3/11 Thu Mar 11 2010 | 7:30 PM |
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| 3/12 Fri Mar 12 2010 | 8:00 PM |
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| 3/13 Sat Mar 13 2010 | 8:00 PM |
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| 3/25 Thu Mar 25 2010 | 7:30 PM |
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| 3/26 Fri Mar 26 2010 | 7:30 PM |
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| 3/27 Sat Mar 27 2010 | 7:30 PM |
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| 3/28 Sun Mar 28 2010 | 2:00 PM |
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| 4/30 Fri Apr 30 2010 | 8:00 PM |
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| 5/1 Sat May 01 2010 | 8:00 PM |
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| 5/21 Fri May 21 2010 | 8:00 PM |
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| 5/22 Sat May 22 2010 | 8:00 PM |
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| 5/23 Sun May 23 2010 | 3:00 PM |
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Details of Carmina Burana and the Ticket Luck value
Carmina Burana
Carmina Burana is a charming cantata composed by Carl Orff between 1935 and 1936. It is based on 24 of the poems found in the medieval collection "Carmina Burana". Carmina Burana is part of Trionfi, the musical triptych.
Orff first encountered the text in John Addington Symonds's 1884 publication, "Wine, Women, and Song", which included English translations of 46 poems from the collection.
Michel Hofmann, a young law student and Latin and Greek enthusiast, assisted Orff in the selection and organization of 24 of these poems into a libretto
Carmina Burana is scored for 3 flutes, 3 oboes, 3 clarinets in B? and A, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B? and C, 3 trombones, tuba, 2 pianos, celesta, a large percussion section and strings.
The percussion section consists of 8 timpani, 2 snare drums, bass drum, triangle, antique cymbals, crash cymbals, suspended cymbals, ratchet, castanets, sleigh bells, tam-tam, tambourine, tubular bells, 3 bells, 3 glockenspiels and xylophone.
The vocal parts include soprano solo, tenor solo, baritone solo, soli of 3 tenors, baritone, and 2 basses, a large mixed choir, a chamber choir and a children's choir
An arrangement for wind ensemble was prepared by Juan Vicente Mas Quiles. A performance of this arrangement was recorded by the North Texas Wind Symphony under Eugene Corporon.
Carmina Burana is structured into five major sections, containing thirteen movements total. Orff indicates attacca markings between all the movements within each scene.
Much of the compositional structure is based on the idea of the turning Fortuna Wheel. The drawing of the wheel found on the first page of the Burana Codex includes four phrases around the outside of the wheel:
"Regnabo (I shall reign), Regno (I reign/I am reigning), Regnavi (I have reigned), Sum sine regno (I am without a kingdom)". O Fortuna, the first poem in the Schmeller edition, completes this circle, forming a compositional frame for the work through being both the opening and closing movements.
Orff's style demonstrates a desire for directness of speech and of access. Carmina Burana contains little or no development in the classical sense, and polyphony is also obviously absent. Carmina Burana avoids overt harmonic complexities, a fact which many musicians and critics have pointed out.
Considering the complicated compositional techniques, the work may be considered in this respect extremely bold. Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi.
Rhythm for Orff is often the primary musical element. Overall, it sounds rhythmically straightforward and simple, but the metre will change freely from one measure to the next.
While the rhythmic arc in a section is taken as a whole, a measure of five may be followed by one of seven, to one of four, and so on, often with caesura marked between them. These constant rhythmic changes combined with the caesura create a very "conversational" feel.
Some of the solo arias pose bold challenges for singers: the only solo tenor aria, Olim lacus colueram, must be sung almost completely in falsetto to demonstrate the suffering of the character. The baritone arias often demand high notes and parts of the baritone aria Dies nox et omnia must be sung in falsetto.
Also noted is the solo soprano aria, Dulcissime which demands extremely high notes. Orff intended this aria for a lyric soprano, not a coloratura, so that the musical tensions would be more obvious.
Carmina Burana was first staged in Frankfurt by the Frankfurt Opera on June 8, 1937. Shortly after the greatly successful premiere, Orff wrote the following letter to his publisher, Schott Music.
Several performances were repeated elsewhere in Germany, and though the Nazi bureaucracy was at first nervous about the erotic tone of some of the poems, they eventually embraced it and it became the most famous piece of music composed in Nazi Germany.
The popularity of the work continued to rise after the war, and by the 1960s Carmina Burana was well established as part of the international classic repertory.
In retrospect the desire he expressed in the letter to his publisher has by and large been fulfilled. In the United States, Carmina Burana represents one of the few box office certainties in 20th-century music.
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