Instruct: Given a question, retrieve passages that answer the question.
Query: Who designed the Vienna State Opera House?
The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.
Due to the appalling conditions at Theater an der Wien, the opera company leadership tried to raise significant quantities of money to speed up reconstruction of the original opera house. Many private donations were made, as well as donations of building material from the Soviets, who were very interested in the rebuilding of the opera. The mayor of Vienna had receptacles placed in many sites around Vienna for people to donate coins only. In this way, everyone in Vienna could say they had participated in the reconstruction and feel pride in considering themselves part owners.
In the years up to and through the First World War the Volksoper attained a position as Vienna's second prestige opera house. In 1919, Felix Weingartner became Artistic Director and Principal Conductor. He was followed as Director by Hugo Gruder-Guntram. After 1929, it focused on light opera, and under Gruder-Guntram undertook a number of summer tours to Abbazia in 1935, Cairo and Alexandria in 1937 and throughout Italy in 1938, with guest appearances from Richard Tauber. After the Second World War, the Vienna Volksoper became the alternative venue to the devastated Vienna State Opera. In 1955 the Volksoper returned to its former role of presenting opera, operetta, and musicals.
The architect or architects of this innovative project remain unknown due to a lack of contemporary sources. Giorgio Vasari in his "Lives" attributed all the important papal projects in Rome during Sixtus IV to a Florentine, Baccio Pontelli including the basilica and monastery of Santa Maria del Popolo. Modern researchers deemed this claim highly dubious and proposed other names among them Andrea Bregno, a Lombard sculptor and architect whose workshop certainly received important commissions in the basilica. The fundamental differences between the façade and the interior suggest that maybe more than one architect was working on the building.
Designed in 1885 by Thomas J. Welsh, a prominent San Francisco architect, for the amount of $28,000, it was the first opera house to serve the Sacramento Valley. The builder for the community theater was Woodland contractor William Henry Curson. Several years later in July 1892 a fire that started in Dead Cat Alley behind the Opera House destroyed much of what is now the Downtown Woodland Historic District, including the Opera House. There was uncertainty whether the House would be rebuilt when a locally renowned businessman, David N. Hershey, purchased the site. Other local businessmen supported the project in addition to Hershey. The Opera House was rebuilt between 1895 and 1896 by local contractor William H. Winne at the cost of $8,990. Many of the materials from the original building were used including some of the partially standing walls.
The current castle was built by Hohenzollern scion Crown-Prince Frederick William IV of Prussia. Traveling through southern Germany en route to Italy in 1819 he wished to learn about his family's roots, so climbed to the top of Mount Hohenzollern. He would write in 1844 as King:
He engaged Friedrich August Stüler, who had been appointed Architect of the King for the rebuilding of Stolzenfels Castle in 1842 while still a student and heir of Karl Friedrich Schinkel, to design a new castle. Stüler began work on an ornate design influenced by English Gothic Revival architecture and the Châteaux of the Loire Valley in 1846. The impressive entryway is the work of the Engineer-Officer Moritz Karl Ernst von Prittwitz, considered the leading fortifications engineer in Prussia. The sculptures around and inside the castle are the work of Gustav Willgohs. Like Neuschwanstein Castle in Bavaria, Hohenzollern Castle is a monument to German Romanticism which incorporated an idealized vision of a medieval knight's castle. Lacking some of the fantastic elements and excesses of Neuschwanstein, the castle's construction served to enhance the reputation of the Prussian Royal Family.
Built in 1904-1905 according to the plans of architect Ion Mincu, the building was inaugurated on April 27, 1906. The structure has a symmetrical plan, running lengthwise along the city's main street. There are two secondary wings, narrower and less ornate, that run behind to enclose a courtyard. On the one hand, there is a suggestion of Venetian style in the facade, with its tall pointed windows and crenellations; Galați itself was the country's main port at the time. On the other hand, traditional Romanian shapes such as buttons, discs and crested larks decorate the rooftop. Among the materials used are stone from Câmpulung, Ruse, Vratsa and Trieste; rubble masonry for the basement; brick from Buzău and Galați; pine shelves; tile and mosaic floors; stone and oak stairs. The roof decorations, corners and drainpipes were made of zinc plates. The new building had gas heating, running water, drainage and gaslight. Two white marble sculptures by Frederic Storck, "Industry" and "Agriculture", adorn the upper part of the main facade. Lower down, there are two coats of arms of the county in bronze. There is also a large clock, and every hour, a few bars of "Waves of the Danube" are played. There are crystal mirrors mounted alongside the monumental main staircase, which has a finely decorated balustrade. The floor, panels and large chairs of the reception room are original.
Group C
Frederician Rococo is a form of rococo, which developed in Prussia during the reign of Frederick the Great and combined influences from France, Germany (especially Saxony) and the Netherlands. Its most famous adherent was the architect Georg Wenzeslaus von Knobelsdorff. Furthermore, the painter Antoine Pesne and even King Frederick himself influenced Knobelsdorff's designs. Famous buildings in the Frederican style include Sanssouci Palace, the Potsdam City Palace, and parts of Charlottenburg Palace.
Hosts
Gothic architecture is represented in the majestic churches but also at the burgher houses and fortifications. The most significant buildings are St. John's Cathedral (14th century), a typical example of the so-called Masovian Gothic style; St. Mary's Church (1411), a town house of Burbach family (14th century); Gunpowder Tower (after 1379); and the Royal Castle "Curia Maior" (1407–1410). The most notable examples of Renaissance architecture in the city are the house of the Baryczko merchant family (1562), a building called "The Negro" (early 17th century), and Salwator tenement (1632). The most interesting examples of Mannerist architecture are the Royal Castle (1596–1619) and the Jesuit Church (1609–1626) at Old Town. Among the first structures of the early Baroque, the most important are St. Hyacinth's Church (1603–1639) and Sigismund's Column (1644).
The Battle of Vienna ( or "Kahlenberg" (Battle of the Bald Mountains); or "odsiecz wiedeńska" (The Relief of Vienna); Modern Turkish: "İkinci Viyana Kuşatması", Ottoman Turkish: "Beç Ḳalʿası Muḥāṣarası") took place at Kahlenberg Mountain near Vienna on 1683 after the imperial city had been besieged by the Ottoman Empire for two months. The battle was fought by the Habsburg Monarchy, the Polish–Lithuanian Commonwealth and the Holy Roman Empire, under the command of King John III Sobieski against the Ottomans and their vassal and tributary states. The battle marked the first time the Commonwealth and the Holy Roman Empire had cooperated militarily against the Ottomans, and it is often seen as a turning point in history, after which "the Ottoman Turks ceased to be a menace to the Christian world". In the ensuing war that lasted until 1699, the Ottomans lost almost all of Hungary to the Holy Roman Emperor Leopold I.
The world's first opera was "Dafne" by Jacopo Peri, which appeared in Florence in 1598. Three decades later Heinrich Schütz set the same libretto in a translation by the poet Martin Opitz, thus creating the first ever German-language opera. The music to Schütz's "Dafne" is now lost and details of the performance are sketchy, but it is known to have been written to celebrate the marriage of Landgrave Georg II of Hessen-Darmstadt to Princess Sophia Eleonora of Saxony in Torgau in 1627. As in Italy, the first patrons of opera in Germany and Austria were royalty and the nobility, and they tended to favour composers and singers from south of the Alps. Antonio Cesti was particularly successful, providing the huge operatic extravaganza "Il pomo d'oro" for the imperial court in Vienna in 1668. Opera in Italian would continue to exercise a considerable sway over German-speaking lands throughout the Baroque and Classical periods. Nevertheless, native forms were developing too. In Nuremberg in 1644, Sigmund Staden produced the "spiritual pastorale", "Seelewig", which foreshadows the "Singspiel", a genre of German-language opera in which arias alternate with spoken dialogue. "Seelewig" was a moral allegory inspired by the example of contemporary school dramas and is the first German opera whose music has survived.
The room Is dedicated to two important masterpieces of the Medici era recently restored: the imposing frieze that adorned the façade of the Villa and was commissioned by Lorenzo himself, and the precious tapestry of the Hunting Swan, one of 36 tapestries designed by Giorgio Vasari on commission of Cosimo I, especially for the Villa. Finally, though temporarily, the room is embellished with the 17th century painting of a beautiful family tree of the Medici family.
The battle was won by the combined forces of the Holy Roman Empire and the Polish–Lithuanian Commonwealth, the latter represented only by the forces of the Crown of the Kingdom of Poland (the march of the Lithuanian army was delayed, and they reached Vienna after it had been relieved). The Viennese garrison was led by Ernst Rüdiger Graf von Starhemberg, an Austrian subject of Holy Roman Emperor Leopold I. The overall command was held by the senior leader, the King of Poland, John III Sobieski, who led the relief forces.
The Fine Arts Center was designed by Fayetteville native Edward Durell Stone, who also designed Radio City Music Hall and the Museum of Modern Art in New York City and the John F. Kennedy Center for the Performing Arts in Washington, D.C. The buildings are indicative of Stone's idiosyncratic modern style which included patterns of ornament. Stone also designed a fraternity house, now used for academic purposes, and an apartment complex named Carlson Terrace on campus, which has since been demolished.
In a test in 2009, the British violinist Matthew Trusler played his 1711 Stradivarius, said to be worth two million U.S. dollars, and four modern violins made by the Swiss violin-maker . One of Rhonheimer's violins, made with wood that the Empa (Swiss Federal Laboratories for Materials Science and Technology) researcher Francis Schwarze had treated with fungi, received 90 of the 180 votes for the best tone, while the Stradivarius came second with 39 votes. The majority (113) of the listeners misidentified the winning violin as the Stradivarius.
A small but notable example of Gothic revival in Italy is the Pedrocchi Café in Padua, Italy (1837), by Giuseppe Jappelli. It borrowed the Venetian Gothic style plus the pinnacles of Milan Cathedral. It became famous as the meeting place of Italian patriots rebelling against Austrian rule in 1848.
The play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Mozart, also called "The Marriage of Figaro" (1786). In 1799, another opera based on the same play, "La pazza giornata, ovvero Il matrimonio di Figaro", was produced in Venice with libretto by Gaetano Rossi and music by Marcos Portugal.
One of the most important examples of this style anywhere in the world were the Parliament Buildings designed by Thomas Fuller. While the style and design of the building is unquestionably Gothic, it resembles no building constructed during the Middle Ages. The forms were the same, but their arrangement was uniquely modern. The Parliament Buildings also departed from Medieval models by integrating a variety of eras and styles of Gothic architecture, including elements of Gothic architecture from Britain, France, the Low Countries, and Italy all in one building.
Gothic architecture is represented in the majestic churches but also at the burgher houses and fortifications. The most significant buildings are St. John's Cathedral (14th century), the temple is a typical example of the so-called Masovian gothic style, St. Mary's Church (1411), a town house of Burbach family (14th century), Gunpowder Tower (after 1379) and the Royal Castle "Curia Maior" (1407–1410). The most notable examples of Renaissance architecture in the city are the house of Baryczko merchant family (1562), building called "The Negro" (early 17th century) and Salwator tenement (1632). The most interesting examples of mannerist architecture are the Royal Castle (1596–1619) and the Jesuit Church (1609–1626) at Old Town. Among the first structures of the early baroque the most important are St. Hyacinth's Church (1603–1639) and Zygmunt's Column (1644).
2009 marked the 140th anniversary of the Vienna Opera House. To celebrate this milestone an idea designed to reach out and embrace a new audience was conceived. A giant 50 sqm screen was placed on the side of the opera house facing Kärntnerstraße. In four months live broadcasts of over 60 famous operas were transmitted in this way, including performances of "Madama Butterfly", "The Magic Flute" and "Don Giovanni". This successful venture brought a new wave of operatic excitement to the many tourists and locals who experienced this cultural event. During daytime the screen displays a replica of the Opera House's façade, as it obstructs a considerable part of the building, along with information about upcoming performances.
In 1921, concerts were added to the festival program. Concerts of the world's best orchestras, singers and soloists still today represent an important pillar of Salzburg Festival. In 1922, Richard Strauss and Franz Schalk brought opera to the festival. Both were famous conductors and since 1919 functioned also as general managers of Vienna State Opera. They chose four works of Salzburg born genius Wolfgang Amadeus Mozart for the first season — the three Da Ponte operas and "Die Entführung aus dem Serail" [The Abduction from the Seraglio]. In the founding years the festival did not have the means to produce entire opera productions. So Strauss and Schalk brought the settings, the singers, the orchestra and the chorus from Vienna State Opera to Salzburg. The press critically noted that the opera program of the festival constituted ″the summer residence of Vienna State Opera″. Nevertheless, the performances were superb due to the orchestra, the chorus and the great singers. They came from all over Europa and created excellent ensembles for the Mozart operas, later on also for works by Donizetti, Johann Strauß and Richard Strauss. An important role was also given to set designer Alfred Roller who dominated the visual aspect of the first Salzburg Festival opera performances.
In 1906, the company provided the Vienna State Opera with stage equipment. Forty years later, the company rebuilt the opera house's roof. Other roof projects include Vienna's Stephansdom in 1948, the Munich Olympic facilities in 1969, the Prater Stadium in Vienna in 1985, and the Reichstag dome in Berlin, for which the company won a European Steel Design award in 1999. Waagner-Biro won another award in 2003 for the British Museum's Queen Elizabeth II Great Court.
Towards the end of World War II, on March 12, 1945, the opera was set alight by an American bombardment. The front section, which had been walled off as a precaution, remained intact including the foyer, with frescoes by Moritz von Schwind, the main stairways, the vestibule and the tea room. The auditorium and stage were, however, destroyed by flames as well as almost the entire décor and props for more than 120 operas with around 150,000 costumes. The State Opera was temporarily housed at the Theater an der Wien and at the Vienna Volksoper.