Word: stuckenschmidt
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After two uninterrupted hours of this, some members of the audience may have welcomed the concluding thunderbolt from Zeus that plunged Prometheus into the netherworld; yet most cheered and stomped for 20 minutes when Orff appeared for curtain calls. The reviews were more divided. Hans Stuckenschmidt, Germany's leading music critic, wrote that "the performance counts among the best that one can see and hear today in European theaters." But Der Spiegel scoffed that the opera sounded like "a prehistoric equinoctial celebration of a voodoo ritual...
...growing materialism and persisting narrowness of my motherland," he says. His music, though, remains German in its contrapuntal structure, and it is still played mostly in die Heimat. But respectful German critics readily grant Henze his Stravinskian legacy and the Italianate influences in his music. Says H. H. Stuckenschmidt, one of the most distinguished German critics: "He is the least bourgeois and the least Teutonic German composer...
...considered one of the hopes of postwar German music. Says respected Critic H. H. Stuckenschmidt: "He belongs to the school of moderately modern music . . . not very modern, but played with most modern means." Egk himself is full of brisk ideas. Says he: "Opera must again become a real show, like French baroque opera, meant...
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