Background Image Background Image Background Image
background image

C5 0190
StarStarStarStarStar Rating
Log in to be the first to review this disc
Background Image Background Image Background Image
background image
Capriccio Logo
C5 0190
(this is a multiple CD album sold separately)

ZEMLINSKY, A.: Kreidekreis (Der) [Opera] (Soltesz)

The Classical Shop
release date: November 2013

Originally recorded in 2013


Berlin Radio Symphony Orchestra


Stefan Soltesz


Gabriele Schreckenbach


Renate Behle



Jesus-Christus-Kirche, Dahlem, Berlin, Germany


Record Label




Total Time - 124:23
background image
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless

ZEMLINSKY, A.: Kreidekreis (Der) [Opera] (Soltesz)




Select Complete Single Disc for

Der Kreidekreis

1 Act I: Ich bitte untertanigst, mich vorstellen zu durfen (Tong, Girl) 03:37
2 Act I: Meine Schwester naht, die Dammerung (Tong, Haitang, Mrs. Tschang) 07:38
3 Act I: Ich habe dich, Schwester, gesucht (Tschang-Ling, Haitang, Mrs. Tschang, Tong) 03:40
4 Act I: Am ufer hinter Weiden (Haitang) 01:59
5 Act I: Ich bin ein Abenteurer (Pao, Haitang) 05:54
6 Act I: Hier ist ein Stuck Kreide (Haitang, Pao) 05:06
7 Act I: Mein Name ist Ma (Ma) 02:19
8 Act I: Eine neue Blume im Garte des Herm Tong (Ma, Tong, Pao, Haitang) 05:08
9 Act II: Prelude 00:55
10 Act II: Mein Name ist Yu-Pei (Mrs. Ma, Tschao) 08:18
11 Act II: Tschao-hai nennt man mich (Tschao, Ma) 04:27
12 Act II: Ich bitte Platz zu nehmen (Ma, Tschao, Mrs. Ma) 02:08
13 Act II: Nun bin ich gegangen (Tschang-Ling) 03:48
14 Act II: Was will der fremde Mann am Zaun? (Haitang, Tschang-Ling) 04:59
15 Act II: Sie sprachen am Garten zaun (Mrs. Ma, Hiatang) 02:49
16 Act II: Darf ich eine Frage an meinen Herrn richten? (Mrs. Ma, Ma, Haitang) 05:39
17 Act II: Sie wollen Tee trinken, gnadiger herr? (Mrs. Ma, Haitang, Ma, Tschao, Ein Polizist, Tschang-Ling) 03:51

Select Complete Single Disc for
1 Act III: Prelude 01:44
2 Act III: Mein Name ist Tschu-tschu (Tschu-Tschu) 02:17
3 Act III: Ich bitte um Vergebung (Tschao, Tschu-Tschu) 01:32
4 Act III: Vorsicht, treten, Sie nicht in den Kreidekreis (Mrs. Ma, Midwife, 2 Coolies) 05:19
5 Act III: Tschang-Haitang, Tochter der Tschang (Haitang, Mrs. Ma, Tschu-Tschu) 03:29
6 Act III: Wir wollen zu diesem Punkt vernehmen (Tschu-Tschu, Midwife, Mrs. Ma, Haitang) 04:23
7 Act III: Himmlisches Licht (Haitang, Mrs. Ma, Tschu-Tschu, Kurier, Tschang-Ling) 05:26
8 Act III: Episode 02:01
9 Act III: Soldat, Du bist mein Kamerad (Soldier, Haitang) 02:01
10 Act III: Hore mich, Sturm! (Haitang, Soldier, Tschang-Ling) 03:39
11 Act III: Soldat, Du bist mein Kamerad (Soldier) 01:36
12 Act III: Hier auf den Stufen meines Tribunals (Kaiser, Tschang-Ling, Tschu-Tschu) 03:15
13 Act III: Diese Dame soll ihren Mann ermordet (Kaiser, Tschu-Tschu, Tschao, Haitang, Mrs. Ma) 02:40
14 Act III: Und nun, Ihr beiden Frauen (Kaiser, Tschu-Tschu, Tschao, Haitang, Mrs. Ma) 04:30
15 Act III: Mein Kind! Mein Kind! (Haitang, Kaiser) 02:11
16 Act III: In jener Nacht (Kaiser, Haitang) 06:05
 Renate Behle Soloist
 Gabriele Schreckenbach Soloist
 Stefan Soltesz Conductor

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.

No Internal Reviews Found.

No User Reviews Found.