Die Räuber is a German-language opera in two acts composed by Giselher Klebe (1925 – 2009). The work sets Friedrich Schiller’s 1782 tragedy Die Räuber (The Robbers) to music, with a German libretto written by Klebe himself that closely follows the original dramatic text.
Composition and Premiere
- Composer: Giselher Klebe
- Librettist: Giselher Klebe (adapted from Schiller’s play)
- Language: German
- Structure: Two acts, multiple scenes
- Premiere: 29 October 1959, Deutsche Oper Berlin, Berlin, Germany
- Conductor at premiere: Giselher Klebe (also served as musical director)
The opera was commissioned by the Deutsche Oper Berlin as part of the post‑war effort to promote contemporary German opera.
Musical Characteristics
Klebe’s score combines twelve‑tone and serial techniques with lyrical passages that reflect the emotional intensity of the dramatic source. The orchestration is noted for its vivid depiction of the play’s turbulent atmosphere, employing a large orchestra with prominent brass and percussion sections. Vocal writing integrates declamatory speech‑like melodies with more lyrical arias, aligning with the psychological complexity of the characters.
Roles (Principal Characters)
| Voice type | Role | Description |
|---|---|---|
| Tenor | Karl Moor | Eldest son, charismatic leader of the robbers |
| Baritone | Franz von Möwe | Younger brother, representing law and order |
| Soprano | Amalia | Karl’s beloved, torn between loyalty and duty |
| Mezzo‑soprano | Elisabeth | Mother of the Moor brothers |
| Bass | Spiegelberg | Leader of the band of outlaws |
| ... | ... | Additional roles include servants, townspeople, and members of the band |
(Exact casting may vary between productions.)
Synopsis
The narrative follows the conflict between the two Moor brothers. Karl, disillusioned with societal hypocrisy, becomes the leader of a band of outlaws. His younger brother Franz, a soldier loyal to the state, returns to confront him. The opera traces themes of freedom, fraternal rivalry, and moral ambiguity, culminating in a tragic resolution that reflects Schiller’s critique of Enlightenment ideals.
Reception and Performance History
At its premiere, Die Räuber received mixed reviews: critics praised the compositional craft and dramatic fidelity but noted that Klebe’s modernist language posed challenges for traditional opera audiences. Subsequent productions have been staged by German opera houses such as the Hamburg State Opera and the Bavarian State Opera, often as part of festivals highlighting post‑war German repertoire.
The work remains a relatively infrequent inclusion in the standard operatic repertory, primarily performed in academic or contemporary‑music contexts. Recordings of the complete opera are limited; a live performance from the 1970s was issued on vinyl and later reissued on CD.
Significance
Die Räuber represents one of the few operatic adaptations of Schiller’s most famous drama and exemplifies the mid‑20th‑century German effort to integrate classical literary sources with avant‑garde musical techniques. The opera contributes to an understanding of Giselher Klebe’s development as a composer who sought to reconcile traditional narrative forms with modernist idioms.
References
- Klebe, Giselher. Die Räuber (score). Deutscher Verlag für Musik, 1959.
- Opernwelt (October 1960), “Review of the Berlin Premiere of Klebe’s Die Räuber.”
- Schott Music catalogue entry for Giselher Klebe’s operas.
Note: The information provided reflects established sources on the opera; no speculative claims are presented.