Sabine toepffer (9 Ergebnisse)

No Binding. Zustand: Near Fine. Photograph. PArt of a set of photographs and letters sent to William Granger for his book, "We Proudly Sang at the Met". A n 4" x 6" photograph portrait of V arnay, signed, with photographer's stamp on reverse. Signed by Author(s).

Sprache: Deutsch Gewicht in Gramm: 900 . (196) S. mit 204 Abb. Brosch.

25,2 x 22,0 x 1,6 cm, Broschur. Zustand: Gut. n.pag., 269 Porträtaufnahmen; Zustand: illustrierter Kartoneinband, Ecken minimal bestoßen --- Inhalt: mit 269 teils ganzseitigen Porträtaufnahmen der Sänger in ihren jeweiligen Rollen. Von Adam über Wunderlich bis Zschau. Etwa 200 porträtierte Sänger aus den Jahren 1949 bis 1983 W1-8 ISBN: 392404600X Sprache: Deutsch Gewicht in Gramm: 800.…

O Broschur, 4°, 4. S., 269 Abb. Auf Tafeln.Gut erhalten. ISBN: 3-924046-00-X Sprache: de.

Zustand: Gebraucht - Gut. original Heft, Format ca. 16 x 23,5 cm, nicht paginiert, ca. 16 Seiten, einige Fotos, mehrere Szenenfotos zu: Emilia Galotti und Gnadenbrot, beiliegendes Faltblatt enthält u.a. ein Gespräch mit W. Spier, beiliegende Besetzungsliste. Zustand: gut, Autor und Titel auf Deckel Deutsch von Heinz Rudolf. Regie: Wolfgang Spier. Bühnenbild: Wolf Gross. Kostüme: Charlotte Flemming. Mitwirkende: Hans-Jürgen Diedrich, Annemarie Wernicke, Hans Quesr, Lola Müthel, Hans Stetter, u. a. ------- Program booklet Alan Ayckbourn HAPPY HOLIDAYS Bavarian State Theatre 1975 - Original booklet, format approx. 16 x 23.5 cm, unpaginated, approx. 16 pages, some photos, several scene photos from: Emilia Galotti and Gnadenbrot, enclosed leaflet includes a conversation with W. Spier, enclosed cast list. Condition: good, author and title on cover - German translation by Heinz Rudolf. Directed by Wolfgang Spier. Set design by Wolf Gross. Costume design by Charlotte Flemming. Featuring: Hans-Jürgen Diedrich, Annemarie Wernicke, Hans Quesr, Lola Müthel, Hans Stetter, and others. deu.…

Zustand: Gebraucht - Gut. original Heft, Format ca. 16 x 23,5 cm, nicht paginiert, ca. 16 Seiten, einige Fotos, mehrere Szenenfotos zu: Emilia Galotti und Gnadenbrot, beiliegendes Faltblatt enthält u.a. Texte zu Dürrenmatt, beiliegende Besetzungsliste. Zustand: gut,kleiner Knick im Faltblatt und der Besetzungsliste und kleine Läsur auf der Rückseite Eine tragische Komödie. Inszenierung: Ernst Schröder. Bühne und Kostüme: Roman Weyl. Musik: Herbert Baumann. Mitwirkende: Anne Kersten, Andreas Altmann, Toni Berger, Reinhard Fuchsberger, Harro von Wardenburg, u. a. ------- Program booklet F. Dürrenmatt THE VISIT OF THE OLD LADY Bavarian State Theatre 1975 - Original booklet, format approx. 16 x 23.5 cm, unpaginated, approx. 16 pages, some photos, several scene photos from: Emilia Galotti and Gnadenbrot, enclosed leaflet contains, among other things, texts on Dürrenmatt, enclosed cast list. Condition: good, small crease in the leaflet and the cast list and a small tear on the back cover. - A tragicomedy. Directed by Ernst Schröder. Set and costume design by Roman Weyl. Music by Herbert Baumann. Featuring: Anne Kersten, Andreas Altmann, Toni Berger, Reinhard Fuchsberger, Harro von Wardenburg, and others. deu.…

Ca. 25,5 x 22 cm. Ca. 200 nn. Seiten, mit 299 Abbildungen. Illustrierter Original-Karton. Schönes Exemplar.

Softcover. Zustand: Sehr gut. Zustand: GUTER Zustand. HC1-493-4/8-00787299 Sprache: Deutsch Gewicht in Gramm: 819.

Zustand: Good. A collection of 206 photographs, mainly in individual sleeves. 17.5 x 17.5cm. to 19.5 x 29cm. Most with photographer's stamp verso. Mainly black and white.Photographers in the Heinz Rosen Archive:S. Enkelmann, München,Siegfried Enkelmann (* 24. Dezember 1905 in Krasnopol (Weißrussland); ? 10. Januar 1978); Taisto Tuomi, Helsinki;Rudolf Betz (* 1907; ? 1970 in München); Serge Lido (French, 1906 - 1984); Archives Lipnitzki, Paris; Arthur Grimm, Berlin;Macku, Wien - Macku Anton, ( 14. Oktober 1901 Wien, ? 11. Dezember 1985); Rudolf Pittner, Wien; Sabine Toepffer, München;Inge Scheuerle.Durch die Einführung der Ballettfestwoche im Jahr 1960 brachte Heinz Rosen die internationale Ballettwelt nach München. Bei Gala-Abenden traten Solisten der westlichen Tanzmetropolen New York, London oder Kopenhagen sowie des Bolschoi-Balletts auf. Erste Auslandsgastspiele in Europa folgten.The newer dance languages of the 20th century received greater attention in Munich, when Heinz Rosen took over the direction of the Staatsoper's ballet division in 1959. Rosen had been a student of Rudolf von Laban's school of German expressive dance. He was lucky to have dance personalities of intensive creative power in the ensemble, such as Natascha Trofimova, Heino Hallhuber, Franz Baur or Walther Matthes, who could translate his ideas and instructions into dance. In the years that followed, Rosen brought more and more outstanding dancers to Munich, some as guests, some as permanent members. The engagement of Konstanze Vernon, a young principal from Berlin who had trained at the school of Tatjana Gsovsky, proved to be especially momentous. Over two decades later, this performer initiated the foundation of the Bayerisches Staatsballett as an independent division under the auspices of the Nationaltheater. Together with her long-standing stage partner Winfried Krisch, she debuted in Munich with Carl Orff's Nänie und Dithyrambe during the Ballet Festival Week of 1963.Introduction of the Ballet Festival Week and opening of the reconstructed National Theatre:With the introduction of the Ballet Festival Week, Heinz Rosen opened the doors to the international ballet world in 1960. He succeeded in bringing big ensembles and stars from major European and American cities to Munich. For the first Ballet Week, the American Aaron Copland appeared with a guest performance of the American Ballet Theatre showing a choreography (Rodeo) by Agnes de Mille. The ballet contributed two choreographies (Dance Panels in Seven Movements by Aaron Copland and Entrata-Nänie-Dithyrambe by Carl Orff) to the National Theatre's reopening in 1963. In addition to this, the Bayerisches Staatsballett showed the world premiere of Triptychon, to symphonic music by Karl Amadeus Hartmann. The latter evoked ambivalent emotions among parts of the audience with regard to the atrocities of the Second World War and can be seen as courageous programming on Rosen's part. All in all, the company's style under Rosen's direction is a typical representation of stage dance at that time: a mix of classical and modern dance with elements of expressive dance.1960 - 1990: Formative stimuli from John Cranko:In the two decades between the Rosen era and the foundation of the Bayerisches Staatsballett lie a series of short-term directors. Especially important during that time werel the years when John Cranko, in addition to his work in Stuttgart, decided the fate of ballet in Munich (1968-1970). He brought with him three of his most beautiful narrative ballets, which had been produced in Stuttgart: Romeo and Juliet, Onegin and The Taming of the Shrew. His artistic influence continued during the time when his dance colleague from the Royal Ballet, Ronald Hynd, was director of the Staatsballett. Many cherished the hope that Cranko would move his field of influence and activity entirely to Munich. Although this hope was not fulfilled, he had a major influence on the company's style. To this very day, Cranko's three grea.…