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Oper am Brühl

January 01, 1970

51°20′32.5″N 12°22′47.9″E / 51.342361°N 12.379972°E / 51.342361; 12.379972

Oper am Brühl
Sketch of the opera house
LocationLeipzig, Germany
TypeOpera house
Construction
Built1693 (1693)
Opened1693 (1693)
Closed1720 (1720)
Demolished1729 (1729)

The Oper am Brühl (also Barockoper Leipzig) was the first opera house in Leipzig. It existed from 1693 to 1720[1] and was the second municipal music theatre in Germany, after the Oper am Gänsemarkt in Hamburg. It was initiated by Nicolaus Adam Strungk who saw a potential audience during the three annual trade fairs in Leipzig. An opera house was built, and opened on 8 May 1693. The house flourished when Georg Philipp Telemann directed the opera from 1703 to 1705. Among his operas for the house is Germanicus, premiered in 1704. A collection of 100 excerpts from the operas, Musicalische Rüstkammer, has been explored for background. The building was found in a dangerous state in 1719, was closed in 1720 and demolished in 1729.

Location and description edit

The opera house at Brühl was located almost at the eastern end of the street and bordered the city wall to the north. After the construction of the Georgenhaus in 1701, it was its neighbouring building. According to Leipzig council records, the building was a three-storey wooden house with a gable roof, 47 metres long, 15 metres wide and 10 metres high.[1] The facade was structured by eight pilasters, and ornaments decorated the entrance portal. The semicircular auditorium had fifty boxes on five triforiums. The stage featured 15 pairs of scenery.[1][2]

Construction and first performances edit

Kapellmeister Nicolaus Adam Strungk (1640–1700) from the Dresden court had realised that at least at the three Leipzig Trade Fairs, around New Year's Day, Easter and Michaelis in September, there was an audience in Leipzig interested in opera performances and ready to pay for them. He therefore sought a licence for opera performances, which was granted to him in 1692 by the Saxon Elector Johann Georg IV for ten years, in each case for the fair times and at his own expense.[3][4]

The opera house was the second municipal music theatre in Germany, after the Oper am Gänsemarkt in Hamburg.[4] Together with the Italian architect Girolamo Sartorio, who had built the Hamburg opera house in 1678, Strungk leased the property in January 1693 for 300 thalers annually.[3] The theatre was built within only four months, so that the first performance could take place in the presence of the Elector during the Leipzig Easter Fair of 1693 on 8 May. The program included Strungk's Alceste. The German libretto, after Aurelio Aureli, was written by Paul Thymich, a teacher of the Thomasschule. The title role was sung by Thymich's wife. Sartorio had built elaborate sets, with a forest, a king's hall and a hellish dragon with flames. The team produced several more operas.[citation needed]

From 1696, Christian Ludwig Boxberg joined as librettist and composer.[5] He composed and directed the operas Die verschwiegene Treue and Sardanapalus for a guest performance by the Leipzig opera company at the court of Margrave Georg Friedrich von Brandenburg-Ansbach in 1698. The autograph of the latter has been preserved in the Staatliche Bibliothek Ansbach [de]. The piece is the oldest surviving German-language opera from central Germany. It was revived in 2012 at the Ekhof-Theater [de]) in Gotha.[6]

Telemann edit

 
Title page of Telemann's opera Germanicus

The opera house reached its prominence when Georg Philipp Telemann, who had enrolled at Leipzig University two years earlier, became music director in 1703. He founded an amateur orchestra of 40 players, mostly students of music, the Collegium Musicum, which also played opera. Telemann's roommate, the later composer Christoph Graupner, was among the players.[7] Telemann wrote the texts for many of his operas, played the keyboard in the orchestra and sometimes sang opera roles. In 1704, his opera Germanicus, to a libretto by Christine Dorothea Lachs [de], was first performed, to be repeated in 1710.[8] He left Leipzig in 1705 for a position at the Sorau court, but kept composing operas for the Leipzig house. In a autobiography, Telemann reported:

... Soon afterwards, I took over the direction of the operas, of which I have written a total of several and twenty, even from Sorau and Franckfurt, and the verses to many of them. For the court of Weissenfels, I produced about four operas, and finally established the still standing music college in Leipzig...[9]

When Saxony was occupied by Swedish troops in 1706 as a result of the Treaty of Altranstädt, no more performances took place, but performances were resumed in 1708, especially works by Melchior Hoffmann who was music director from 1706 to 1715, and Johann David Heinichen who was active in 1709 and 1710.[10] Hoffmann also directed the Collegium Musicum, with players including the later composers Johann Georg Pisendel and Gottfried Heinrich Stölzel.[11] The composers Johann Christian Schieferdecker and Gottfried Grünewald, who later worked at the Oper am Gänsemarkt in Hamburg, were also pupils of the Leipzig Opera.[10] Singers included Johanna Elisabeth Hesse née Döbricht (1692–1786), a sister of Samuel Ernst Döbricht (a son-in-law of Strungk), who went on to Darmstadt as a court singer in 1711.[12]

In total, there were 104 productions in the 27 years of the opera house's existence,[2] which sometimes meant more than one production per year, with three seasons per year. Themes included ancient heroic fables, historical events, motifs from contemporary novels and the popular shepherd's plays. The performers were often students and, in the beginning, Strungk's two sisters and his five daughters.[13]

Organisation and decline edit

 
Cover of the Musicalische Rüstkammer

During Strungk's lifetime, there were already financial difficulties, and Sartorio had to serve a mandatory prison sentence for non-payment of rent. After Strungk's death, his widow ran the business for a few years from 1700. When she died their children refused the inheritance because of the high debts. A son of Sartorio, Johann Friedrich Sartorio, and Samuel Ernst Döbricht who had married Strungk's daughter Philippine stepped in as tenants from 1710, and Döbricht also as director and bass of the opera. Döbricht additionally directed the Opernhaus vorm Salztor in nearby Naumburg from 1710, which then took over productions from the Leipzig theatre.[14]

The situation behind the scenes of productions became increasingly difficult. Sartorio's son demanded a say, as well as Strungk's daughters. From 1711, Dorothea Maria Strungk appeared as artistic director, and Elisabeth Catharine Strungk as contralto who appeared as Agrippina in Telemann's Germanicus. The parties fought each other in changing constellations over the following years.[15] Costumes of another party were hidden; and in 1712, Döbricht destroyed the stage set of a Strungk daughter with an axe shortly before the premiere of the Echo and Narcissus, but reassembled everything afterwards.[14][16] In 1716, Döbricht gave up his position.[17]

Johann Gottfried Vogler [de] was musical director from 1716, but fled Leipzig during the Michaelis Fair of 1719, because of debt incurred. He is also said to have stolen instruments from the Neukirche in Leipzig.[11]

The building of the opera house on the Brühl had shown deficiencies from the beginning, to which the fast construction probably contributed, so that frequent repairs had to be made. In 1719, an expert's report certified that the state of the building posed a danger to life and health.[14] The opera house was therefore closed in 1720. In 1729, the city council bought it and had it demolished.[17]

The musical quality of the performances in this house was still reflected decades later. In 1752, the composer Johann Joachim Quantz and flute teacher to Frederick the Great wrote:

... The operas which have been in flourishing condition in Hamburg and Leipzig for quite a long time, and which have now perished, and the famous composers who have worked [...] for them, have made good preparations for the degree of good taste in which music in Germany at present stands...[14]

Reception edit

 
View of the Leipzig exhibition on Baroque opera in March 2013

In 2009, Michael Maul published the results of his investigation into Leipzig's Baroque opera as the outcome of an extensive research project into the history of the opera house, which had hitherto been little studied, initiated by the Bach Archive Leipzig.[14]

Titled "Liebe. Macht. Leidenschaft. Die Leipziger Barockoper" (Love. Power. Passion. The Leipzig Baroque Opera), an exhibition at the Bach Museum Leipzig from 15 March to 25 August 2013 focused on the Oper am Brühl, and presented original textbooks and documents on the history of the house.[1]

Apart from the operas Germanicus and Die Lybische Talestris[18] by Heinichen (first performed in 1709, rediscovered in 2009 and performed again in Bad Lauchstädt)[19] only single arias from operas of the house have survived, most of them (100 pieces) in the collection Musicalische Rüstkammer (Musical Armoury), a handwritten, anonymously composed music book from 1719, which is kept in the Stadtbibliothek Leipzig [de].[14]

Recordings edit

References edit

  1. ^ a b c d Theis 2013.
  2. ^ a b Schwarz 2014, p. 451.
  3. ^ a b Witkowski 1909, p. 331.
  4. ^ a b Leipzig 2021.
  5. ^ "Strungk, Nikolaus Adam". operone. en. Retrieved 1 April 2021.
  6. ^ "Premiere Sardanapalus". tlz.de. 31 July 2012. Retrieved 1 April 2021.
  7. ^ Brit Reipsch, Carsten Lange: Komponisten im Spannungsfeld von höfischer und städtischer Musikkultur. Georg Olms, Hildesheim, 2014, p. 37.
  8. ^ Ortus 2021.
  9. ^ Telemann: Autobiografie. 1740. p. 359.[incomplete short citation]
  10. ^ a b Maul 2008, p. 188.
  11. ^ a b Collegium Musicum 2021.
  12. ^ Noack, Elisabeth (2001). "Döbricht, Johanna Elisabeth". Grove Music Online. doi:10.1093/gmo/9781561592630.article.07896. (subscription required)
  13. ^ Maul 2011, p. 12.
  14. ^ a b c d e f Maul 2011, p. 13.
  15. ^ Koldau 2005.
  16. ^ "Sonderausstellung Bach-Museum". Neue Musikzeitung. 13 March 2013. Retrieved 1 April 2021.
  17. ^ a b Witkowski 1909, p. 333.
  18. ^ Die Lybische Talestris on Opera Baroque
  19. ^ "Re-performance Talestris". Neue Musikzeitung. 18 May 2010. Retrieved 1 April 2021.

Cited sources edit

  • Koldau, Linda Maria (2005). Frauen – Musik – Kultur. Ein Handbuch zum deutschen Sprachgebiet der Frühen Neuzeit. Cologne: Böhlau. pp. 514f. ISBN 978-3-4122-4505-4.
  • Maul, Michael (2008). "Die Gebrüder Uffenbach zu Besuch in der Gänsemarktoper". In Marx, Hans Joachim (ed.). Göttinger Händel-Beiträge. Vol. 12. Göttingen: Vandenhoeck & Ruprecht. p. 188. ISBN 978-3-52-527823-9.
  • Maul, Michael (2011). "Telemann and the Leipzig Opera" (PDF). eclassical.de. pp. 10–13. Retrieved 1 April 2021.
  • Schwarz, Peter Schwarz (2014). Das tausendjährige Leipzig (in German). Vol. 1. Leipzig: ProLeipzig. pp. 450–452. ISBN 978-3-94-502704-2.
  • Theis, Florian (12 March 2013). "Liebe, Macht und Leidenschaft: Bach-Museum zeigt Ausstellung über Leipziger Barockoper". Leipziger Volkszeitung (in German). Retrieved 1 April 2021.
  • Witkowski, Georg (1909). Geschichte des literarischen Lebens in Leipzig. Leipzig, Berlin: B. G. Teubner. pp. 331–334.
  • "Geschichte" (in German). Neues Bachisches Collegium Musicum. Retrieved 1 April 2021.
  • "Oper – Geschichte". leipziginfo.de. Retrieved 1 April 2021.
  • "Georg Philipp Telemann (1681–1767) / Germanicus (Leipzig 1704/10) / Kritische Ausgabe" (in German). Ortus Musikverlag. Retrieved 21 April 2021.

Further reading edit

  • Heinrich Blümner [in German] (1818). Geschichte des Theaters in Leipzig: Von dessen ersten Spuren bis auf die neueste Zeit. Leipzig: F. A. Brockhaus. p. 35.
  • Roland Dreßler (2018). "Ihme in den Messzeiten zu Leipzig ein teutsches Singe Spiel zu praesentiren erlauben". Leipziger Blätter [de]. Vol. 72. pp. 18–20.
  • Michael Maul (2009). Barockoper in Leipzig (1693–1720). Freiburg im Breisgau: Rombach. ISBN 978-3-7930-9584-2.
  • Horst Riedel (2005). Stadtlexikon Leipzig von A bis Z. Leipzig: PRO Leipzig. pp. 446–447. ISBN 3-936508-03-8.
  • Booklet zur Ausstellung "Liebe. Macht. Leidenschaft. Die Leipziger Barockoper". Leipzig: Kamprad/Bach-Museum. 2013.

External links edit

  •   Media related to Oper am Brühl (Leipzig) at Wikimedia Commons
  • "Opernkritik der Wiederaufführung der Oper Die lybische Talestris am 18.06.2010 im Goethe-Theater Bad Lauchstädt im Rahmen des Bachfestes 2010". Operapoint. Retrieved 1 April 2021.

January 01, 1970
oper, brühl, 342361, 379972, 342361, 379972, sketch, opera, houselocationleipzig, germanytypeopera, houseconstructionbuilt1693, 1693, opened1693, 1693, closed1720, 1720, demolished1729, 1729, also, barockoper, leipzig, first, opera, house, leipzig, existed, fr. 51 20 32 5 N 12 22 47 9 E 51 342361 N 12 379972 E 51 342361 12 379972 Oper am BruhlSketch of the opera houseLocationLeipzig GermanyTypeOpera houseConstructionBuilt1693 1693 Opened1693 1693 Closed1720 1720 Demolished1729 1729 The Oper am Bruhl also Barockoper Leipzig was the first opera house in Leipzig It existed from 1693 to 1720 1 and was the second municipal music theatre in Germany after the Oper am Gansemarkt in Hamburg It was initiated by Nicolaus Adam Strungk who saw a potential audience during the three annual trade fairs in Leipzig An opera house was built and opened on 8 May 1693 The house flourished when Georg Philipp Telemann directed the opera from 1703 to 1705 Among his operas for the house is Germanicus premiered in 1704 A collection of 100 excerpts from the operas Musicalische Rustkammer has been explored for background The building was found in a dangerous state in 1719 was closed in 1720 and demolished in 1729 Contents 1 Location and description 2 Construction and first performances 3 Telemann 4 Organisation and decline 5 Reception 6 Recordings 7 References 7 1 Cited sources 8 Further reading 9 External linksLocation and description editThe opera house at Bruhl was located almost at the eastern end of the street and bordered the city wall to the north After the construction of the Georgenhaus in 1701 it was its neighbouring building According to Leipzig council records the building was a three storey wooden house with a gable roof 47 metres long 15 metres wide and 10 metres high 1 The facade was structured by eight pilasters and ornaments decorated the entrance portal The semicircular auditorium had fifty boxes on five triforiums The stage featured 15 pairs of scenery 1 2 Construction and first performances editKapellmeister Nicolaus Adam Strungk 1640 1700 from the Dresden court had realised that at least at the three Leipzig Trade Fairs around New Year s Day Easter and Michaelis in September there was an audience in Leipzig interested in opera performances and ready to pay for them He therefore sought a licence for opera performances which was granted to him in 1692 by the Saxon Elector Johann Georg IV for ten years in each case for the fair times and at his own expense 3 4 The opera house was the second municipal music theatre in Germany after the Oper am Gansemarkt in Hamburg 4 Together with the Italian architect Girolamo Sartorio who had built the Hamburg opera house in 1678 Strungk leased the property in January 1693 for 300 thalers annually 3 The theatre was built within only four months so that the first performance could take place in the presence of the Elector during the Leipzig Easter Fair of 1693 on 8 May The program included Strungk s Alceste The German libretto after Aurelio Aureli was written by Paul Thymich a teacher of the Thomasschule The title role was sung by Thymich s wife Sartorio had built elaborate sets with a forest a king s hall and a hellish dragon with flames The team produced several more operas citation needed From 1696 Christian Ludwig Boxberg joined as librettist and composer 5 He composed and directed the operas Die verschwiegene Treue and Sardanapalus for a guest performance by the Leipzig opera company at the court of Margrave Georg Friedrich von Brandenburg Ansbach in 1698 The autograph of the latter has been preserved in the Staatliche Bibliothek Ansbach de The piece is the oldest surviving German language opera from central Germany It was revived in 2012 at the Ekhof Theater de in Gotha 6 Telemann edit nbsp Title page of Telemann s opera Germanicus The opera house reached its prominence when Georg Philipp Telemann who had enrolled at Leipzig University two years earlier became music director in 1703 He founded an amateur orchestra of 40 players mostly students of music the Collegium Musicum which also played opera Telemann s roommate the later composer Christoph Graupner was among the players 7 Telemann wrote the texts for many of his operas played the keyboard in the orchestra and sometimes sang opera roles In 1704 his opera Germanicus to a libretto by Christine Dorothea Lachs de was first performed to be repeated in 1710 8 He left Leipzig in 1705 for a position at the Sorau court but kept composing operas for the Leipzig house In a autobiography Telemann reported Soon afterwards I took over the direction of the operas of which I have written a total of several and twenty even from Sorau and Franckfurt and the verses to many of them For the court of Weissenfels I produced about four operas and finally established the still standing music college in Leipzig 9 When Saxony was occupied by Swedish troops in 1706 as a result of the Treaty of Altranstadt no more performances took place but performances were resumed in 1708 especially works by Melchior Hoffmann who was music director from 1706 to 1715 and Johann David Heinichen who was active in 1709 and 1710 10 Hoffmann also directed the Collegium Musicum with players including the later composers Johann Georg Pisendel and Gottfried Heinrich Stolzel 11 The composers Johann Christian Schieferdecker and Gottfried Grunewald who later worked at the Oper am Gansemarkt in Hamburg were also pupils of the Leipzig Opera 10 Singers included Johanna Elisabeth Hesse nee Dobricht 1692 1786 a sister of Samuel Ernst Dobricht a son in law of Strungk who went on to Darmstadt as a court singer in 1711 12 In total there were 104 productions in the 27 years of the opera house s existence 2 which sometimes meant more than one production per year with three seasons per year Themes included ancient heroic fables historical events motifs from contemporary novels and the popular shepherd s plays The performers were often students and in the beginning Strungk s two sisters and his five daughters 13 Organisation and decline edit nbsp Cover of the Musicalische Rustkammer During Strungk s lifetime there were already financial difficulties and Sartorio had to serve a mandatory prison sentence for non payment of rent After Strungk s death his widow ran the business for a few years from 1700 When she died their children refused the inheritance because of the high debts A son of Sartorio Johann Friedrich Sartorio and Samuel Ernst Dobricht who had married Strungk s daughter Philippine stepped in as tenants from 1710 and Dobricht also as director and bass of the opera Dobricht additionally directed the Opernhaus vorm Salztor in nearby Naumburg from 1710 which then took over productions from the Leipzig theatre 14 The situation behind the scenes of productions became increasingly difficult Sartorio s son demanded a say as well as Strungk s daughters From 1711 Dorothea Maria Strungk appeared as artistic director and Elisabeth Catharine Strungk as contralto who appeared as Agrippina in Telemann s Germanicus The parties fought each other in changing constellations over the following years 15 Costumes of another party were hidden and in 1712 Dobricht destroyed the stage set of a Strungk daughter with an axe shortly before the premiere of the Echo and Narcissus but reassembled everything afterwards 14 16 In 1716 Dobricht gave up his position 17 Johann Gottfried Vogler de was musical director from 1716 but fled Leipzig during the Michaelis Fair of 1719 because of debt incurred He is also said to have stolen instruments from the Neukirche in Leipzig 11 The building of the opera house on the Bruhl had shown deficiencies from the beginning to which the fast construction probably contributed so that frequent repairs had to be made In 1719 an expert s report certified that the state of the building posed a danger to life and health 14 The opera house was therefore closed in 1720 In 1729 the city council bought it and had it demolished 17 The musical quality of the performances in this house was still reflected decades later In 1752 the composer Johann Joachim Quantz and flute teacher to Frederick the Great wrote The operas which have been in flourishing condition in Hamburg and Leipzig for quite a long time and which have now perished and the famous composers who have worked for them have made good preparations for the degree of good taste in which music in Germany at present stands 14 Reception edit nbsp View of the Leipzig exhibition on Baroque opera in March 2013 In 2009 Michael Maul published the results of his investigation into Leipzig s Baroque opera as the outcome of an extensive research project into the history of the opera house which had hitherto been little studied initiated by the Bach Archive Leipzig 14 Titled Liebe Macht Leidenschaft Die Leipziger Barockoper Love Power Passion The Leipzig Baroque Opera an exhibition at the Bach Museum Leipzig from 15 March to 25 August 2013 focused on the Oper am Bruhl and presented original textbooks and documents on the history of the house 1 Apart from the operas Germanicus and Die Lybische Talestris 18 by Heinichen first performed in 1709 rediscovered in 2009 and performed again in Bad Lauchstadt 19 only single arias from operas of the house have survived most of them 100 pieces in the collection Musicalische Rustkammer Musical Armoury a handwritten anonymously composed music book from 1719 which is kept in the Stadtbibliothek Leipzig de 14 Recordings editTelemann Germanicus CPO DDD 2010 Olivia Stahn Elisabeth Scholl Matthias Rexroth Henryk Bohm Tobias Berndt Sachsisches Barockorchester Gotthold Schwarz Telemann und die Leipziger Oper Populare Arien aus der Sammlung Musicalische Rustkammer Pan Classics DDD 2011 Jan Kobow tenor United Continuo Ensemble Nuria Rial Telemann DHM DDD 2010 Nuria Rial Julia Schroder Kammerorchester Basel Sardanapalus PAN DDD 2014 Jan Kobow Rinnat Moriah Franz Vitzthum Soren Richter United Continuo Ensemble Bernhard Epstein de References edit a b c d Theis 2013 a b Schwarz 2014 p 451 a b Witkowski 1909 p 331 a b Leipzig 2021 Strungk Nikolaus Adam operone en Retrieved 1 April 2021 Premiere Sardanapalus tlz de 31 July 2012 Retrieved 1 April 2021 Brit Reipsch Carsten Lange Komponisten im Spannungsfeld von hofischer und stadtischer Musikkultur Georg Olms Hildesheim 2014 p 37 Ortus 2021 Telemann Autobiografie 1740 p 359 incomplete short citation a b Maul 2008 p 188 a b Collegium Musicum 2021 Noack Elisabeth 2001 Dobricht Johanna Elisabeth Grove Music Online doi 10 1093 gmo 9781561592630 article 07896 subscription required Maul 2011 p 12 a b c d e f Maul 2011 p 13 Koldau 2005 Sonderausstellung Bach Museum Neue Musikzeitung 13 March 2013 Retrieved 1 April 2021 a b Witkowski 1909 p 333 Die Lybische Talestris on Opera Baroque Re performance Talestris Neue Musikzeitung 18 May 2010 Retrieved 1 April 2021 Cited sources edit Koldau Linda Maria 2005 Frauen Musik Kultur Ein Handbuch zum deutschen Sprachgebiet der Fruhen Neuzeit Cologne Bohlau pp 514f ISBN 978 3 4122 4505 4 Maul Michael 2008 Die Gebruder Uffenbach zu Besuch in der Gansemarktoper In Marx Hans Joachim ed Gottinger Handel Beitrage Vol 12 Gottingen Vandenhoeck amp Ruprecht p 188 ISBN 978 3 52 527823 9 Maul Michael 2011 Telemann and the Leipzig Opera PDF eclassical de pp 10 13 Retrieved 1 April 2021 Schwarz Peter Schwarz 2014 Das tausendjahrige Leipzig in German Vol 1 Leipzig ProLeipzig pp 450 452 ISBN 978 3 94 502704 2 Theis Florian 12 March 2013 Liebe Macht und Leidenschaft Bach Museum zeigt Ausstellung uber Leipziger Barockoper Leipziger Volkszeitung in German Retrieved 1 April 2021 Witkowski Georg 1909 Geschichte des literarischen Lebens in Leipzig Leipzig Berlin B G Teubner pp 331 334 Geschichte in German Neues Bachisches Collegium Musicum Retrieved 1 April 2021 Oper Geschichte leipziginfo de Retrieved 1 April 2021 Georg Philipp Telemann 1681 1767 Germanicus Leipzig 1704 10 Kritische Ausgabe in German Ortus Musikverlag Retrieved 21 April 2021 Further reading editHeinrich Blumner in German 1818 Geschichte des Theaters in Leipzig Von dessen ersten Spuren bis auf die neueste Zeit Leipzig F A Brockhaus p 35 Roland Dressler 2018 Ihme in den Messzeiten zu Leipzig ein teutsches Singe Spiel zu praesentiren erlauben Leipziger Blatter de Vol 72 pp 18 20 Michael Maul 2009 Barockoper in Leipzig 1693 1720 Freiburg im Breisgau Rombach ISBN 978 3 7930 9584 2 Horst Riedel 2005 Stadtlexikon Leipzig von A bis Z Leipzig PRO Leipzig pp 446 447 ISBN 3 936508 03 8 Booklet zur Ausstellung Liebe Macht Leidenschaft Die Leipziger Barockoper Leipzig Kamprad Bach Museum 2013 External links edit nbsp Media related to Oper am Bruhl Leipzig at Wikimedia Commons Opernkritik der Wiederauffuhrung der Oper Die lybische Talestris am 18 06 2010 im Goethe Theater Bad Lauchstadt im Rahmen des Bachfestes 2010 Operapoint Retrieved 1 April 2021 Portals nbsp Opera nbsp Germany Retrieved from https en wikipedia org w index php title Oper am Bruhl amp oldid 1222668490, wikipedia, wiki, book, books, library,

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