Evening star., 1952-08-10
News of Music:

The world premiere Of a dead
composers opera is a rare thing.
In the case of Richard Strauss
die Liebe der Danae," its first
performance next Thursday, at
the Salzburg Festival, will round
out the operate output Of this
famed composer who died in
September. 1949. He had heard
his last opera in rehearsal but
never in performance. Its pro-
duction was Cancelled by the Nazi
authorities without explanation.
This happened in 1914 but three
years later he was planning
simultaneous world premieres in
Salzburg, Zurich. Stockholm and
London. From his home in the
village of Baden, near Zurich,
he was devoting his time to the
choosing of artists, the scenery
and directors with the passion
for detail that was one of his
characteristics. His desire for
a European premiere was so
great that he refused an offer
to have it produced in Buenos
Aires.
The liberetto, first outlined
by Hugo Won Hofmansthal, who
authored Der Rosenkavalier,"
Electra" and other Strauss
operas, was written by Joseph
Gregor. At the suggestion Of
the Austrian Embassy here,
Prof. Gregor tells the story of
what is called "a cheerful myth
illogical legend" for those who
will not be able to attend the
premiere at Salzburg Thursday.
His story follows:
THE birth of the opera ''Die
Liebe der Danae" was far less
cheerful than it's subtitle seems
to imply. When our collabora-
ton began, back in 1885, Strauss
had made up his mind about
two works he intended to write,
and which he subsequently COM
pleted. The choice of a third
theme, however, caused much
difficulty and we might easily
have chosen Spanish, or even
an Assyrian, instead of a CLASH
cal heroine. Discussions about
these themes went on for years.
Finally, Strauss, who believed
in first inspirations, returned
TO the story of Danae, for which
Hugo Won Hofmansthal, his first
outstanding collaboration, had
made a draft of a few pages
many years ago. Strauss de-
cided in favor Of this subject
but it still took years until he
was fully satisfied with the
libretto.
"On January 13, 1899, he
wrote telling me that my efforts
had been splendidly rewarding.
and that he was very happy.
Think of the date: I admit to-
day that such a statement, COM
ing as it did from Strauss him
self and at that period of deep
est gloom, meant consolation for
me and lasting happiness.
A Comedy Of Gold
"The opera opens with a little
grotesque scene, its only purpose
being to create a strong con-
trast with what follows. A crowd
of Oriental creditors are pressing
the heavily indebted king of the
island of Eos for his golden
throne. the only piece of gold
left in the house.
This comedy of gold is fol-
lowed Immediately by the apoth-
costs of gold-Danae's mysterious
dream of the shower of gold
a passage accompanied by music
of unforgettable charm. Then,
the king has the extraordinary,
though in his position under
Standable, idea of sending the
husbands of his daughters, Leda,
Europe, Semele and Alkmene, in
search Of husband for Danae.
cit so happens that the image
Of Danae, which they wisely
carry with them, turns to gold
in the hands of a great Oriental
ruler. He falls in love with her.
That is not all. The ove-smitten
king, desirous of sending a pres
ent to his betrothed, simply
breaks a bough from the nearest
tree, and behold, it turns into a
golden piece. He is Midas, under
whose hands everything turns to
gold. The woman who can never
get enough gold has met the
man who has too much of it.
The return of the SonS-in-law
and their tale. as we'll as Danae's
passion for gold-she must res
cue King Midas gift from the
creditors-are masterpieces OF
Strauss writing.
I'm the meantime a messenger
presents himself. He pretends
to be Chrysopher-bearer of
gold. He brings Danae golden
insignia and golden jewelry and
actually captivates her, whose
heart can only be won with gold.
This scene forms a beautiful
double-edged duet, written in
Richard Strauss famous Chi
aroscuro style. Chrysopher, of
course. is none other than Midas.
Everything would be all right if
he had not revealed that some
body much greater and more
powerful was actually backing
him-the power that has be.
slowed upon him and upon her
the magic of gold. In the
grandiose musical finale. a gold
en- ship carrying another king,
pretending to be Midas, enters
the port. Danae fails to rush
delightedly to meet him, but
staggers instead, and even
sWoons. The mighty man wild