Notes & Reviews:
The old Chinese drama of courtroom and customs was usable only as raw material. In its original version it is a fairly dull, wooden affair, handled extremely clumsily from the dramatic point of view. It is in effect inventing a Chinese fairy-tale. No strict Chinoiserie: it had to be as if in a dream of China. Klabund (1925) Two years after the death of Klabund, Zemlinsky decided to use his Chalk circle as the basis for an opera. He recast the five-act 'play after the Chinese' first into a two-act, later into a three-act version, and composed his Chalk circle in 1931/32. This blend of a fairy-tale Utopia, social criticism and inwardness makes itself felt in Zemlinsky's music, which seeks to combine varied stylistic components: Chinese coloration appears in the orchestral scoring, which is enriched with gongs and other exotic-sounding instruments: the melody often avoids semitonal steps and so takes on a pentatonic character. It was the seventh and also his last completed opera, from which the then 61-year-old Zemlinsky hoped for the definitive breakthrough as an operatic dramatist.Notes & Reviews:
Recording information: Jesus-Christus-Kirche, Berlin-Dahlem (02/12/1990-02/16/1990).
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Works DetailsZemlinsky, Alexander v. : Der Kreidekreis, opera
- Performers: Celina Lindsley (Soprano); Uwe Peters (Voice)
- Conductor: Stefan Soltesz
- Ensemble: Berlin Radio Symphony Orchestra
- Notes: Jesus-Christus-Kirche, Berlin-Dahlem (02/12/1990-02/16/1990)
- Running Time: 3 min. 37 sec.
- Period Time: Post Romantic
- Form: Opera/Operetta
- Written: 1930-1932