<\/p>\n
| \n 1876<\/p>\n<\/td>\n | <\/td>\n | \n Born in Venice. Baptised as Hermann Friedrich Wolf. His mother, Emilia Ferrari, is Venetian, his father, August Wolf, a German painter who copies paintings from the 15th and 16th centuries in Italy on behalf of Count Friedrich von Schack. Up to the age of 15 Ermanno grows up in Italy.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1882<\/td>\n | <\/td>\n | \n First private piano lessons in Venice. Shows great talent for drawing.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1891<\/td>\n | <\/td>\n | \n First training in the visual arts at the \u201cAccademia di Belle Arti\u201d in Rome, and a year later at the private school of painting of Simon Holosy in Munich.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1892<\/td>\n | <\/td>\n | \n Deeply moved by the music of Johann Sebastian Bach, he breaks off his study of art and passes the entrance examination at the \u201cRoyal Academy of Music\u201d in Munich. There he studies under the teacher of counterpoint Joseph Rheinberger. At the age of 18, under the stage name of Ermanno Wolf-Ferrari, he conducts the world premiere of his \u201cSerenade for Strings\u201d as part of a student concert.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1895<\/td>\n | <\/td>\n | \n After graduating he temporarily returns to Venice. Intense private study of baroque and classical Italian music. First chamber music compositions in romantic style. Three opera attempts fail.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1896<\/td>\n | <\/td>\n | \n Through the mediation of Arrigo Boito, unique encounter with Giuseppe Verdi in Milan.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1897<\/td>\n | <\/td>\n | \n Conductor of a German choir in Milan. Encounter with the composer and leader of the \u201cCapella Marciana\u201d in Venice, Don Lorenzo Perosi. Composition of choral works: \u201cOtto Chori\u201d (eight a capella choruses) Op. 2, \u201cTalitha Kumi\u201d Op. 3, \u201cLa Sulamithe\u201d Op. 4.<\/p>\n Marriage to soprano Clara Kilian. A year later, birth of their only son, Federico.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1900<\/td>\n | <\/td>\n | \n The premiere of his opera \u201cCenerentola\u201d at the Teatro La Fenice is a failure. The later German performance of the piece in Bremen (1902) gains respectable success.<\/p>\n<\/td>\n<\/tr>\n | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1903<\/td>\n | <\/td>\n | \n With the premiere of the choral-orchestral cantata \u201cLa Vita Nuova\u201d Op. 9, (after Dante-Alighieri) in Munich, the name Wolf-Ferrari becomes famous overnight. His individual style, a symbiosis of Italian and German styles of expression is established.<\/p>\n His opera \u201cLe donne curiose\u201d (\u201cThe curious women\u201d) premieres with sensational success at the Residenz Theatre in Munich. Thus not only an artistic revival of the works of the Venetian comedy writer Carlo Goldoni (1707 – 1793) has been achieved, but also a fundamental renewal of the opera buffa<\/em> is established. The work immediately begins its triumphal procession around the globe. Stylistically significant is the cultivation of the arioso-parlando in Verdi\u2019s \u201cFalstaff\u201d and the neoclassical texture of the orchestra as an explicit alternative to post-wagnerian pathos and the realistic directness of Verismo.<\/p>\n Twenty-six year old Wolf-Ferrari is appointed director for life of the Conservatory \u201cLiceo Musicale Benedetto Marcello\u201d in Venice – a position which he quits however after seven years.<\/p>\n<\/td>\n<\/tr>\n 1905<\/p>\n \u00a0 1906<\/p>\n<\/td>\n Gustav Mahler conducts „Die neugierigen Frauen“ („Le donne curiose“) at the K. und K. Hofoperntheater in Vienna.<\/p>\n The premiere of \u201cI Quatro Rusteghi\u201d (\u201cThe Four Ruffians\u201d) at the National theatre in Munich under Felix Mottl consolidates the fame of the young composer.<\/p>\n<\/td>\n<\/tr>\n The one-act opera \u201cIl segreto di Susanna\u201d\u00a0 (\u201cSusanna\u2019s secret\u201d) premieres under Felix Mottl in Munich.<\/p>\n Wolf-Ferrari who has dual citizenship, moves to Germany again, settling in Ottobrun, Krailing, in the outskirts of Munich, but regularly spends the winter months in Italy.<\/p>\n<\/td>\n<\/tr>\n Premiere of \u201cI Gioielli della Madonna\u201d (\u201cThe Jewels of the Madonna\u201d) at the Berlin Kurf\u00fcrstenoper. The style of the opera is close to verismo, yet with its own particular sound. Travels to America.<\/p>\n<\/td>\n<\/tr>\n American premiere of \u201cLe Donne Curiose\u201d under Arturo Toscanini at the Metropolitan Opera, New York.<\/p>\n<\/td>\n<\/tr>\n Ernst von Schuch conducts the premiere of \u201cL\u2019amore medico\u201d\u00a0 (\u201cDoctor Cupid\u201d) in Dresden.<\/p>\n<\/td>\n<\/tr>\n Lives in Zurich until 1921, then in Zollikon, a village on Lake Zurich.\u00a0 Bouts of depression due to war and rootlessness as a German-Italian. Creative crisis. Divorces Clara Kilian. For some time turns to drawing, creating arounds 130 nudes. Correspondence with the greatly admired Swiss musicologist Ernst Kurth.<\/p>\n<\/td>\n<\/tr>\n Marriage to Wilhelmine Funck.<\/p>\n Since the end of the First World War his works are subject to ever changing reception and irregular frequency of performances.<\/p>\n<\/td>\n<\/tr>\n \u201cGli Amanti Sposi\u201d, based on Goldoni, has its premiere at the Teatro La Fenice in Venice and the Semper Opera in Dresden under Fritz Busch.<\/p>\n<\/td>\n<\/tr>\n The premiere of \u201cLa Vesta del Cielo\u201d\u00a0 (\u201cDas Himmelskleid\u201d) under Hans Knappertsbusch receives a cold reception at the National Theatre in Munich. \u201cSly\u201d (after Shakespeare) excites the audience at La Scala.<\/p>\n<\/td>\n<\/tr>\n Premiere of \u201cLa Vedova scaltra\u201d (based on Goldoni) in Rome. Revision (mainly of the recitatives) of Mozart\u2019s \u201cIdomeneo\u201d for the Munich National Theatre.<\/p>\n<\/td>\n<\/tr>\n Two little concertos accompanied by string orchestra with two horns: \u201cIdillio-Concertino\u201d for oboe Op.15, and \u201cSuite Concertino\u201d for bassoon Op.16.<\/p>\n<\/td>\n<\/tr>\n \u201cIl Canzoniere\u201d, an Italian song book (on texts from Tuscan folk poetry) for various voices and piano Op.17.<\/p>\n<\/td>\n<\/tr>\n \u201cSuite Veneziana\u201d for small orchestra. By 1939, three further small orchestral works arise: \u201cTrittico\u201d, \u201cDivertimento\u201d and \u201cArabeschi\u201d.<\/p>\n Premiere of \u201cIl Campiello\u201d (based on Goldoni) at La Scala under Gino Marinuzzi.<\/p>\n<\/td>\n<\/tr>\n Premiere of \u201cLa dama boba\u201d (based upon Lope de Vega) in Milan.<\/p>\n Appointment as professor of composition at the Salzburg Mozarteum. Wolf-Ferrari suffers\u00a0heavily under Fascism and National Socialism, he himself remains unperturbed by the political systems. Lives withdrawn in Munich and Venice, his works are occasionally performed even during the war.<\/p>\n Chamber music (string quartet and string quintet, among others.)<\/p>\n Incipient correspondence with the young American star violinist Guila Bustabo. From the very beginning the two artists feel spiritually connected.<\/p>\n<\/td>\n<\/tr>\n Violin concerto in D major Op.26\u00a0 – \u201cGuila Bustabo, in admiration.\u201d\u00a0 The Bombing of Leipzig and Munich prevents the planned premiere in the autumn of 1943.\u00a0 Wolf-Ferrari flees to Alt Aussee, in Austria.<\/p>\n His last opera, \u201cDer Kuckuck von Theben\u201d (Gli dei a Tebe) is premiered in Hannover.<\/p>\n<\/td>\n<\/tr>\n Premiere of the Violin Concerto with Guila Bustabo and the Munich Philharmonic under Oswald Kabasta in Munich\u2019s Tonhalle, followed by the French premiere under Willem Mengelberg in Paris.<\/p>\n „Sinfonia Brevis“ Op.28.<\/p>\n<\/td>\n<\/tr>\n Cello Concerto „Invocazione“ Op.31.<\/p>\n<\/td>\n<\/tr>\n Spends postwar time in the house of Swiss friends in Zurich.<\/p>\n \u201cSmall concerto for Cor Anglais and string orchestra with two horns“ Op.34. Duet for Viola d\u2019amore and Viola da gamba Op.33.<\/p>\n<\/td>\n<\/tr>\n Dies unexpectedly of a heart attack on January 21 in Venice. He is granted a grave of honour on the cemetery island of San Michele, in his native town.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":" \u00a0 1876 Born in Venice. Baptised as Hermann Friedrich Wolf. His mother, Emilia Ferrari, is Venetian, his father, August Wolf, a German painter who copies paintings from the 15th and 16th centuries in Italy on behalf of Count Friedrich von Schack. Up to the age of 15 Ermanno grows up in Italy. 1882 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":10,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-219","page","type-page","status-publish","hentry"],"yoast_head":"\n |