• Alfie Boe
• Anton Lehár
• Antonín Bennewitz
• Antonín Dvořák
• Aryan
• Austria-Hungary
• Bad Ischl
• CD-ROM
• Conducting
• Decca Records
• Diacritic
• Franz Lehár
• Fred K. Prieberg
• Fritz Löhner-Beda
• G. Schirmer
• Joseph Goebbels
• Kingdom of Hungary
• Komárno
• Komárom
• Kurt Gänzl
• Leidsche Rijn
• London Records
• Lotte Lehmann
• March (music)
• Musical composition
• Naxos Records
• Nazism
• Operetta
• Personal name
• Prague Conservatory
• Richard Tauber
• Richard Traubner
• Roman Catholic
• Sonata
• Sopron
• Steven Lehar
• Symphonic poem
• The Land of Smiles
• The Merry Widow
• Theater an der Wien
• Tilburg
• Utrecht
• Violin
• Wikipedia Persondata
• Wikisource
• 
  

• 
  Kingdom of Hungary
  The Kingdom of Hungary was a country in Central Europe covering what is today Hungary, Slovakia, Transylvania (now part of Romania), Carpatho Ruthenia (now part of Ukraine), Vojvodina (now part of Serbia), Burgenland (now part of Austria), and other smaller territories surrounding present-day Hungary's borders. From 1102 it also included Croatia (except Istria), being in personal union with it, united under the Hungarian king. The kingdom existed for almost one thousand years (1000–1918 and 1920–1946) and at various points was regarded as one of the cultural centers of the Western world.
  The Latin Regnum Hungariae/Vngarie (Regnum meaning kingdom); Regnum Marianum (Kingdom of St. Mary); or simply Hungaria was the form used in official Latin documents from the beginning of the kingdom to the 1840s. The German name (Königreich Ungarn) was used from 1849 to the 1860s, and the Hungarian name (Magyar Királyság) was used in the 1840s, and again from the 1860s to 1918. The names in other languages of the kingdom were: Polish: Królestwo Węgier, Romanian: Regatul Ungariei, Croatian: Kraljevina Ugarska, Slovene: Kraljevina Ogrska, Czech: Uherské království, Slovak: Uhorské kráľovstvo, Italian (for the city of Fiume), Regno d'Ungheria.
  
  wn.com/Kingdom_of_Hungary
• 
  Komárom
  Komárom (Slovak: Komárno, Croatian: Komoran, German: Komorn, Serbian: Коморан) is a city in Hungary on the right bank of the Danube in Komárom-Esztergom county.
  The city of Komárom was formerly a separate suburban village called Újszőny. In 1892 Komárom and Újszőny were connected with an iron bridge and in 1896 the two towns were united under the name Komárom.
  The city center was split by the newly created border of Czechoslovakia in 1920 (the Czechoslovak part is now Komárno, Slovakia), and development of the southern part only really began at that time.
  Komárom and Komárno are connected by two bridges: The iron bridge and a newer lifting bridge. The two towns used to be a border crossing between Czechoslovakia (later Slovakia) and Hungary, until both countries became part of the Schengen Area, resulting in all immigration and customs checks to be lifted on December 12, 2007.
  
  
  
  wn.com/Komárom
• Leidsche Rijn
  Leidsche Rijn is a neighbourhood under construction west of Utrecht in the central Netherlands. The whole project consists of two city parts, namely Leidsche Rijn and Vleuten-De Meern. The neighbourhood is expected to be completed in 2025 and will have approximately 80,000 inhabitants.
  By 2007 the neighbourhoods of Veldhuizen, Parkwijk, Langerak and large parts of Terwijde were already occupied.
  During construction several archeological remains were discovered. In 1997 and in 2003 Roman ships were discovered in the neighbourhood of De Balije and in 2002 and 2003 Roman watchtowers were discovered in the neighbourhoods of Vleuterweide and Het Zand.
  Currently there are plans for a controversial skyscraper called "Belle van Zuylen". This skyscraper would (if constructed) be 262 metres in height and will replace the Dom Tower as the highest structure in the city of Utrecht.
  The centre of this new neighbourhood will be situated above the Rijksweg A2 and will possibly include a few high-rise structures. There are about 22,000 people living in Leidsche Rijn as of the end of 2007 (estimate based on 80,000 inhabitants in 2025)
  
  wn.com/Leidsche_Rijn
• 
  Prague Conservatory
  Prague Conservatory, sometimes also Prague Conservatoire, in Czech Pražská konzervatoř, is a Czech secondary school in Prague dedicated to teaching the arts of music and theater acting.
  Prague Conservatory offers instruction in playing several instruments including accordion, guitar, piano, and organ, as well as in singing, composing, conducting, and acting. The studies take 6 years. The curriculum includes specialized theoretical studies, language education as well as general education. The institution has its own symphonic and chamber orchestras, several chamber music ensembles, and a theater company. About 250 concerts and 40 dramatic performances are held annually.
  In the academic year of 2005/2006, approximately 550 Czech and 40 foreign students studied at the Conservatory.
  The Prague Conservatoire was founded in 1808 by local aristocrats and burghers. Classes first started in 1811, after a delay caused by Napoleonic Wars. Bedřich Diviš Weber was appointed the first director of the school.
  
  wn.com/Prague_Conservatory
• 
  Sopron
  Sopron (Hungarian pronunciation: [ˈʃopron]; German: Ödenburg, Croatian: Šopron, Latin: Scarbantia) is a city in Hungary on the Austrian border, near the Lake Neusiedl/Lake Fertő.
  When the area that is today Western Hungary was a province of the Roman Empire, a city called Scarbantia stood here. Its forum was located where the main square of Sopron can be found today.
  During the Migration Period Scarbantia was believed to be deserted and by the time Hungarians arrived in the area, it was in ruins. In the 9th–11th centuries Hungarians strengthened the old Roman city walls and built a castle. The town received its Hungarian name at this time from a castle steward named Suprun. In 1153 it was mentioned as an important town.
  In 1273 King Otakar II of Bohemia occupied the castle. Even though he took the children of Sopron's nobility with him as hostages, the city opened its gates when the armies of King Ladislaus IV of Hungary arrived. The king awarded Sopron by elevating it to the rank of free royal town.
  
  wn.com/Sopron
• 
  Theater an der Wien
  The Theater an der Wien (The Theatre on the Wien River) is a historic theatre on the Left Wienzeile in the Mariahilf district of Vienna. Completed in 1801, it has seen the premieres of many celebrated works of theatre, opera, and symphonic music. Since 2006, the theatre has served primarily as an opera house, hosting its own company.
  The theatre was the brainchild of the Viennese theatrical impresario Emanuel Schikaneder, who is best known to history as Mozart's librettist and collaborator on the opera The Magic Flute (1791). Schikaneder's troupe had already been successfully performing for several years in Vienna in the smaller Theater auf der Wieden, where The Magic Flute had premiered. Schikaneder, whose performances often emphasized spectacle and scenery, felt ready to move to a larger and better equipped venue.
  He had already been granted an imperial licence to build a new theatre in 1786, but it was only in 1798 that he felt ready to act on this authorization. The building was designed by the architect Franz Jäger in Empire style (it has since been remodeled). Construction was completed in 1801. The theatre has been described as "the most lavishly equipped and one of the largest theatres of its age.".
  
  wn.com/Theater_an_der_Wien
• 
  Tilburg
  Tilburg [ˈtɪɫ.bʏrx] ( listen) is a landlocked municipality and a city in the Netherlands, located in the southern province of Noord-Brabant. Tilburg municipality also includes the villages of Berkel-Enschot and Udenhout. With more than 206,000 inhabitants, it is the second largest city of Noord-Brabant, and the sixth city of the Netherlands. With Goirle, it forms an agglomeration of 229,000 inhabitants.
  Tilburg University is located in Tilburg, as are Avans University of Applied Sciences and Fontys University of Applied Sciences.
  Tilburg is known for its 10-day-long funfair,^{[dead link]} the largest in the Benelux, held in July each year. The Monday during the funfair is called "Roze Maandag" (Pink Monday), and is primarily gay-oriented, though also enjoyed by many heterosexuals.
  There are three railway stations within the municipality: Tilburg, Tilburg Universiteit and Tilburg Reeshof.
  Little is known about the earliest history of Tilburg. Documents from the year 709 show the name Tilburg for the first time. After that, sources remain silent for some centuries. In the later Middle Ages, Tilburg was more of a local 'region' than a village or city, although a couple of small hamlets provided its population centers, one of which was known as 'Eastern Tilburg' (Oost-Tilburg), which was later reflected in the name of Oisterwijk ('Eastern Quarter'). This village centered around a small (probably wooden) castle or 'Motteburcht' on an equally small hill, which became derelict and was torn down after a few centuries at most. Of this first 'Tilburg Castle', nothing remained c. 2000, save a few remnants of its moat in the suburbs of Oisterwijk. In the 14th century, Tilburg was proclaimed a manor. Together with Goirle, it acquired the title of "The Manor of Tilburg and Goirle".
  
  wn.com/Tilburg
• 
  Utrecht
  Utrecht (/ˈjuːtrɛkt/; Dutch pronunciation: [ˈytrɛxt] ( listen)) city and municipality is the capital and most populous city of the Dutch province of Utrecht. It is located in the eastern corner of the Randstad conurbation, and is the fourth largest city of the Netherlands with a population of 316,448 on 1 February 2012.
  Utrecht's ancient city centre features many buildings and structures from the Early Middle Ages. It has been the religious centre of the Netherlands since the eighth century. Currently it is the see of the Archbishop of Utrecht, the most important Dutch Roman Catholic leader. Utrecht is also the see of the archbishop of the Old Catholic church, titular head of the Union of Utrecht (Old Catholic), and the location of the offices of the main Protestant church. Until the Dutch Golden Age Utrecht was the city of most importance of the Netherlands until Amsterdam became its cultural and most populous centre.
  Utrecht is host to Utrecht University, the largest university of the Netherlands, as well as several other institutes for higher education. Due to its central position within the country, it is an important transport hub for both rail and road transport. It has the second highest number of cultural events in the Netherlands, after Amsterdam.
  
  wn.com/Utrecht

• Alfie Boe
  Alfred Giovanni Roncalli Boe, known professionally initially as Alf or Alfred Boe and now as Alfie Boe, (born September 29, 1973) is an English tenor.
  Boe, the youngest in a family of 9 children, was born in Blackpool, Lancashire, and brought up in nearby Fleetwood. He attended St Wulstan's and St Edmund's School and Cardinal Allen Roman Catholic High School in Fleetwood.^{[citation needed]} His earliest musical memories were of listening to his father's Richard Tauber records and at the age of 11 he discovered Puccini's La bohème for the first time.^{[citation needed]}
  Alfie's first public performance, aged 14, was at Fleetwood's Marine Hall in a "Songs from the Shows" presentation organised by inspirational local singing teacher Lottie Dawson. He states that although he sang only a couple of lines he was extremely nervous.
  At the age of 17, Boe became an apprentice mechanic at the TVR factory in Bispham, Blackpool. He enjoyed entertaining his colleagues by singing opera arias while he polished the cars, and one day was overheard by a client with connections in the music industry who was so impressed, he suggested Boe should go to London and audition for the D'Oyly Carte Opera Company. His audition was a success and he gave up polishing cars to embark on a singing career. Boe has never been able to trace the customer who suggested he go for the audition, having lost the man's business card.
  
  wn.com/Alfie_Boe
• 
  Anton Lehár
  Anton Freiherr von Lehár (21 February 1876 – 12 November 1962; known sometimes as Baron Antal Lehár) was an Austrian officer of Hungarian descent, who reached the pinnacle of his service after World War I when he supported the former Emperor Charles I of Austria's attempts to retake the throne of Hungary. His brother was composer Franz Lehár.
  Lehár was born in Ödenburg, (now Sopron), Austria-Hungary, as the younger son of a bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army. He attended schools in Preßburg, Prague and Vienna. He entered cadet school in Vienna to become a professional officer, finishing in 1893 top of his class. Following a posting to his father's regiment, he was promoted Leutnant in 1894 and Oberleutnant in 1898. Between 1897 and 1899 Lehár attended the "Kriegsschule" (war college) in Vienna, after which he was attached to the general staff and served in a number of training positions until World War I.
  Following the outbreak of World War I, Lehár, now with the rank of Major, was put in command of the 2nd battalion of the Honvéd-Landsturm Infantry Regiment No. 13, which he led in September 1914 during battles at Chodel south of Lublin. His battalion was part of the Army group "Kummer" and served next to the unit of General Viktor Dankl. For his conduct there, Lehár would later be decorated with the Knights's Cross of the Military Order of Maria Theresa (see below). While still fighting near Lublin, Lehár was severely wounded.
  
  wn.com/Anton_Lehár
• 
  Antonín Bennewitz
  Antonín Bennewitz (born Benevic) (26 March 1833 – 29 May 1926) was a Czech violinist, conductor and teacher. He was in a line of violinists that extended back to Giovanni Battista Viotti, and forward to Jan Kubelík and Wolfgang Schneiderhan.
  He was born in Přívrat, Bohemia as Antonín Benevic, but his name is most often seen in a German rendering, Bennewitz. He studied under Moritz Mildner (Мильднер, Мориц) (Mořic Mildner: 1812-1865) at the Prague Conservatory from 1846 to 1852. He then worked in Prague (where he was engaged as first violinist of the Estates Theatre (1852-1861)), Salzburg and Stuttgart. In 1859 he also performed in Paris and Brussels. It was during this period that on 3 December 1855 he participated in the first performance of Bedřich Smetana’s Piano Trio in G minor, Op. 15, in the Prague Konvict Hall, with Smetana himself as pianist and Julius Goltermann as cellist. In 1866 he became Professor of Violin in Prague. In 1876 he succeeded Mildner as leader of Friedrich Pixis (Bedřich Vilém Pixis)’s quartet, which became known as the Bennewitz Quartet. He became the Prague Conservatory’s Director in 1882, serving until 1901, when he was succeeded by Antonín Dvořák. He was among the founders of the Kammermusikverein, whose nationalist ideals stimulated Smetana to write his String Quartet in E minor From My Life.
  
  wn.com/Antonín_Bennewitz
• 
  Antonín Dvořák
  Antonín Leopold Dvořák (/ˈdvɔrʒɑːk/ DVOR-zhahk or /dɨˈvɔrʒæk/ di-VOR-zhak; Czech: [ˈantoɲiːn ˈlɛopolt ˈdvor̝aːk] ( listen); September 8, 1841 – May 1, 1904) was a Czech composer of late Romantic music, who employed the idioms of the folk music of Moravia and his native Bohemia. Dvořák’s own style is sometimes called "romantic-classicist synthesis". His works include symphonic, choral and chamber music, concerti, operas and many of other orchestral and vocal-instrumental pieces.
  His best-known works include his New World Symphony, the Slavonic Dances, the Symphonic Variations, "American" String Quartet, Piano Quintet No 2, the opera Rusalka, Cello Concerto in B minor and choral works Stabat Mater, Requiem and Te Deum. Today, he is considered to be one of the most important composers of the Romantic era.
  Dvořák was born on September 8, 1841, in the Bohemian village of Nelahozeves, near Prague (then part of Bohemia in the Austrian Empire, now Czech Republic), where he spent most of his life. He was baptized as a Roman Catholic in the church of St. Andrew in the village. Dvořák's years in Nelahozeves nurtured the strong Christian faith and love for his Bohemian heritage that so strongly influenced his music. His father, František Dvořák (1814–1894), was an innkeeper, professional player of the zither, and a butcher. Although his father wanted him to be a butcher as well, Dvořák pursued a career in music. He received his earliest musical education at the village school, which he entered in 1847, aged six. From 1857 to 1859 he studied music in Prague's only organ school, and gradually developed into an accomplished player of the violin and the viola. He wrote his first string quartet when he was 20 years old, two years after graduating.
  
  wn.com/Antonín_Dvořák
• 
  Aryan
  Aryan /ˈɛərjən/ is an English language loanword derived from the Sanskrit ārya ('Noble'). In present-day academia, the terms "Indo-Iranian" and "Indo-European" have, according to many, made most uses of the term 'Aryan' minimal, and 'Aryan' is now mostly limited to its appearance in the term "Indo-Aryan" to represent (speakers of) North, West and Central Indian languages.
  Western notions of an "Aryan race" rose to prominence in late-19th and early-20th century racialist thought, an idea most notably embraced by Nazi ideology (see master race). The Nazis believed that the "Nordic peoples" (who were also referred to as the "Germanic peoples") represent an ideal and "pure race" that was the purest representation of the original racial stock of those who were then called the Proto-Aryans. The Nazis declared that the Nordics were the true Aryans because they claimed that they were more "pure" (less racially mixed with non-native Indo-European peoples) than other people of what were then called the Aryan peoples (now generally called the Indo-European peoples).
  
  wn.com/Aryan
• 
  Franz Lehár
  Franz Lehár (30 April 1870 – 24 October 1948) was an Austro-Hungarian composer. He is mainly known for his operettas of which the most successful and best known is The Merry Widow (Die lustige Witwe).
  Lehár was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of an Austrian bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army and a Hungarian woman from a family of German descent. He grew up speaking only Hungarian until the age of 12. Later he put a diacritic above the "a" of his father's name "Lehar" to indicate the long vowel in Hungarian phonology.
  While his younger brother Anton entered cadet school in Vienna to become a professional officer, Franz studied violin and composition at the Prague Conservatory, where his violin teacher was Antonín Bennewitz, but was advised by Antonín Dvořák to focus on composing music. After graduation in 1899 he joined his father's band in Vienna, as assistant bandmaster. In 1902 he became conductor at the historic Vienna Theater an der Wien, where his first opera Wiener Frauen was performed in November of that year.
  
  wn.com/Franz_Lehár
• 
  Joseph Goebbels
   Dr. Paul Joseph Goebbels (help·info) (German: [ˈɡœbəls]; 29 October 1897 – 1 May 1945) was a German politician and Reich Minister of Propaganda in Nazi Germany from 1933 to 1945. As one of Adolf Hitler's closest associates and most devout followers, he was known for his zealous oratory and anti-Semitism.
  Goebbels earned a Ph.D. from Heidelberg University in 1921, writing his doctoral thesis on 19th century romantic drama; he then went on to work as a journalist and later a bank clerk and caller on the stock exchange. He also wrote novels and plays, but they were rejected by publishers. Goebbels came into contact with the National Socialist German Worker's Party (NSDAP) or Nazi Party in 1923 during the French occupation of the Ruhr and became a member in 1924. He was appointed Gauleiter (regional party leader) of Berlin. In this position, he put his propaganda skills to full use, combating the local socialist and communist parties with the help of Nazi papers and the paramilitary Sturmabteilung (Brownshirts). By 1928, he had risen in the party ranks to become one of its most prominent members.
  
  wn.com/Joseph_Goebbels
• Kurt Gänzl
  Kurt Gänzl (born 15 February 1946) is an award-winning writer, musicologist, casting director and singer best known for his books about musical theatre.
  After a long acting and singing career and a career as a casting director of West End shows, Gänzl has become one of the world's most important chroniclers of the history of musical theatre. According to Canal Académie, "Kurt Gänzl is an institution. No one interested in musicals and operetta can ignore that. He is the world reference – with some few others, like Gerald Bordman, Ken Bloom, or Andrew Lamb – for that subject".
  Gänzl was born Brian Roy Gallas in Wellington, New Zealand and is of Austrian descent, the son of Frederick, an educator, and Nancy Gallas, née Welsh. He studied law and classics at University of Canterbury in New Zealand, receiving a masters degree in 1967 while performing as a radio and concert vocalist.
  Early in his career, Gänzl wrote plays. His one-act plays Elektra and The Women of Troy were produced in New Zealand in 1966 and 1967 by Elmwood Players. The latter play won the British Drama League (now British Theatre Association/Drama Magazine) award in 1967. The next year, Ganzl joined the New Zealand Opera Company as a bass soloist. After the company closed, he moved to London and studied for a year at the London Opera Centre. For twenty years, he worked as a performer, including a long run in London's hit show, The Black and White Minstrels. His last show was Harold Fielding's Hans Andersen at the London Palladium. He then worked as a talent agent and as a casting director for over a dozen musicals and plays in London's West End theatres and for musical and operatic productions in Europe and America.
  
  wn.com/Kurt_Gänzl
• 
  Lotte Lehmann
  Charlotte "Lotte" Lehmann (February 27, 1888 – August 26, 1976) was a German soprano who was especially associated with German repertory. She gave memorable performances in the operas of Richard Strauss, Richard Wagner, Ludwig van Beethoven, Puccini, Mozart and Massenet. The Marschallin in Der Rosenkavalier was considered her greatest role. During her long career, Lehmann also made more than five hundred recordings.^{[citation needed]} Her performances in the world of Lieder are considered among the best ever recorded.
  Lehmann was born in Perleberg, Province of Brandenburg. In 1926 she married Otto Krause, who died in 1939.
  After studying in Berlin with Mathilde Mallinger, she made her debut at the Hamburg Opera in 1910 as a page in Wagner's Lohengrin. In 1914, she sang for the first time at the Vienna State Opera, which she joined in 1916. There she sang the premieres of a number of operas by Richard Strauss, including Ariadne auf Naxos in 1916, Die Frau ohne Schatten in 1919, Intermezzo in 1924, and Arabella in 1933, as well as Vienna premieres of several operas by Puccini. She made her debut in London in 1914, and from 1924 to 1935 she performed regularly at the Royal Opera House, Covent Garden. She appeared regularly at the Salzburg Festival from 1926 to 1937, performing with Arturo Toscanini, among other conductors. She also gave recitals there accompanied at the piano by the conductor Bruno Walter. In 1936, while in Salzburg, she discovered the Trapp Family Singers, later made famous in the musical The Sound of Music, and persuaded them to present their first public performance.^{[citation needed]}
  
  wn.com/Lotte_Lehmann
• 
  Richard Tauber
  Richard Tauber (16 May 1891 – 8 January 1948) was an Austrian tenor acclaimed as one of the greatest singers of the 20th century. Some critics commented that "his heart felt every word he sang".
  He was born in Linz, Austria to Elisabeth Seifferth, an actress who played soubrette roles at the local theatre. His father, Richard Anton Tauber, also an actor, was not married to his mother and was unaware of the birth as he was touring America at the time. Being born out of wedlock, he was given the name Richard Denemy (Denemy being his mother's maiden name). He also used the names Ernst Seiffert, Carl Tauber and C. Richard Tauber at various times.
  Richard accompanied his mother on tour to various theatres but she found it increasingly difficult to cope, and in 1897 he was sent to school in Linz, when his father took over his upbringing. His father, who had a Jewish background but had converted to Roman Catholicism,^{[citation needed]} hoped that Richard would become a priest, but the boy missed the excitement of the theatre and instead joined his father in Prague, and subsequently in 1903 at the theatre in Wiesbaden. Richard hoped to become a singer but failed to impress any of the teachers he auditioned for, probably because he chose to sing Wagner, for which his voice was not suited. Consequently, his father entered him at the Hoch Conservatory in Frankfurt to study piano, composition and conducting, subjects which stood Tauber in good stead in later years. He made rapid progress but he still hoped to become a singer; whilst staying with friends at Freiburg he was heard by the well-known voice teacher Professor Carl Beines, who encouraged him to sing more quietly and promised a good career as a Mozart tenor.
  
  wn.com/Richard_Tauber
• Richard Traubner
  Richard Traubner is an American journalist, author, operetta scholar and historian, and lecturer on theatre and film. His book on the history of operetta was first published in 1983 and won the 17th annual ASCAP-Deems Taylor Award. Traubner is a frequent contributor to Opera News,The New York Times,The Economist and many other publications. He frequently provides notes for recordings and operetta productions. He has translated, directed and designed many European operettas. In 2000 and 2001, he was the designer in residence at Ohio Light Opera and has designed numerous productions for them since then.
  Traubner attended Boston University, where he was president of the B. U. Savoyards. He received his Ph.D. from New York University.
  According to MusicWeb International, Traubner's book Operetta: A Theatrical History, first published in 1983, is "One of the best reference books of the Musical Theatre.... Apart from [Kurt Gänzl]'s The British Musical Theatre and Musicals, there is no better book than this to dip into for acquiring a perspective on shows or the activity surrounding a particular production. Of especial interest... is the valuable detail Traubner gives about composers' backgrounds, training and career structure.... Traubner... writes in an easy style".John Kenrick calls the book "The ultimate love letter to operetta, with superb scholarship throughout." The book "is still the definitive work on the subject".American Record Guide calls it "the standard work on the subject".The Gramophone wrote:
  
  wn.com/Richard_Traubner
• 
  Steven Lehar
  Steven Lehar is an independent researcher who has made a number of radical proposals on theories of philosophy, psychology, biological vision, and consciousness.
  Perhaps Lehar's most radical theory is that the solid spatial world that we see around us in visual experience is not the world itself, but merely a miniature replica of that world in an internal representation. This is known variously as the theory of Indirect perception, Indirect realism, Epistemological dualism, and Representationalism. Although this idea is not new, having been first proposed by Immanuel Kant and promoted by Bertrand Russell, Wolfgang Köhler, and the Gestaltists of the Berlin School, the idea has never taken hold to become generally accepted, and remains to this day a minority view. Lehar's contribution has been to refute the most common objection to Representationalism which is the homunculus fallacy (see his paper on Gestalt Isomorphism, and his book The World In Your Head). Lehar has also argued for the indirect nature of perception by pointing out the curvature of perceived space, or phenomenal perspective, which is obviously not a property of the external world. For example when standing on a long straight road, the sides of the road are perceived to meet at a point both up ahead and back behind, while appearing straight and parallel and equidistant throughout their perceived length. (See Lehar's Cartoon Epistemology).
  
  wn.com/Steven_Lehar
• Wikipedia Persondata
  wn.com/Wikipedia_Persondata

• Introduktion/Verehrteste Damen und Herren
• Dialog: Danke, danke, meine Herrschaften
• So kommen Sie! 's ist niemand hier
• Ich bin eine anständ'ge Frau
• Dialog: Nun, Njegus, waren Sie beim Grafen Danilo?
• Dialog: Frau Glawari darf keinen Pariser heiraten/Bitte, meine Herrn
• Dialog: Gnädige Frau, ich rechne es mir zur hohen Ehre an
• Dialog: Also bitte, Njegus, ich bin hier/ O Vaterland, duch machst bei Tag ... Da geh' ich zu Maxim
• Dialog: Njegus, Geliebter, ich bin hier
• Dialog: Bitte noch, bitte noch
• Dialog: Na endlich, Graf Danilo, sind Sie da! / Dialog: Weil - weil - mein prinzipieller Grundsatz lautet
• Damenwahl! Hört man rufen rings im Saal!
• Hilfe kommt zur rechten Zeit! O kommen doch, o kommt, Ihr Ballsirenen
• O Vaterland, du machst bei Tag ... Der junge Mann tanzt Polka
• Pardon, Madame, zuviel Reklam'!
• Der Letzte ging, Sie sind befreit

• The Merry Widow: Act I. No. 1 "Verehrteste Damen und Herren"
• The Merry Widow: Act I. No. 1a "Camille, ich muß mit lhnen sprechen!"
• The Merry Widow: Act I. No. 2 "So kommen Sie! 's ist niemand hier!"
• The Merry Widow: Act I. No. 2 Dialog "Nun, Njegus, haben Sie meine Botschaft überbracht?"
• The Merry Widow: Act I. No. 2 "Achtung, meine Herren, die Glawari kommt!" / No. 3 "Bitte, meine Herr'n - Hab' in Paris mich noch nicht ganz so akklimatisiert"
• The Merry Widow: Act I. No. 3a "Camille! - Ja?"
• The Merry Widow: Act I. No. 4 "Also, Njegus, hier bin ich, und wo ist das Vaterland?"
• The Merry Widow: Act I. No. 4 "Ich habe schon die vierte Nacht nich geschlafen!"
• The Merry Widow: Act I. No. 4 "Ich bitte Sie, lieber Freund, es hat doch keinen Zwerk" / No. 5 "Ja, was? - Ein trautes Zimmerlein"
• The Merry Widow: Act I. No. 5 "Also, lieber Graf, Sie sind mein Mann" / No. 6 "Damenwahl! Hört man rufen rings im Saal"
• The Merry Widow: Act II. No. 7 "Ich bitte, hier jetzt zu verweilen - Es lebt' eine Vilja"
• The Merry Widow: Act II. No. 7 "Gospodina, dieses vaterländische Fest könnte nicht vaterländischer sein!"
• The Merry Widow: Act II. No. 8 "Heia, Mädel, aufgeschaut"
• The Merry Widow: Act II. No. 8 "Wir werden uns noch schlagen um die Witwe!" / No. 9 "Wie die Weiber man behandelt"
• The Merry Widow: Act II. No. 9 "Mein tapferer Reitersmann!" / No. 10 "So, wie die Dinge sich entwickeln"
• The Merry Widow: Act II. No. 10 "Nein, nein, nein" / No. 11 "Mein Freund! Vernunft! - Wie eine Rosenknospe"
• The Merry Widow: Act II. No. 11 "Ah, die Baronin und Herr Rosillon"
• The Merry Widow: Act II. No. 12 "Ha! Ha! - Wir fragen, was man von uns will!"
• The Merry Widow: Act III. No. 12b "Also, also, also!"
• The Merry Widow: Act III. No. 13 Danse Scene
• The Merry Widow: Act III. No. 13 "Graf Danilowitsch..." / No. 14 "Ja, wir sind es, die Grisetten"
• The Merry Widow: Act III. No. 14 "Exzellenz, Exzellenz, Graf, eine Expreßdepesche!"
• The Merry Widow: Act III. No. 15 "Aber dort bin ich zu Hause..."
• The Merry Widow: Act III. No. 15 "Exzellenz! Exzellenz! Diesen Fächer hat man im Pavillon gefunden!"
• The Merry Widow: Act III. No. 16 "Ja, das Studium der Weiber ist schwer"

• Die lustige Witwe: Akt I. Introduktion: "Verehrteste Damen und Herren"
• Die lustige Witwe: Akt I. Dialog: "Camille ich muss mit Ihnen sprechen!"
• Die lustige Witwe: Akt I. Duett: "So kommen Sie! 's ist niemand hier!"..."Ich bin eine anständige Frau"
• Die lustige Witwe: Akt I. "Ich bin eine anstän'dge Frau"
• Die lustige Witwe: Akt I. Entrée-Lied: "Bitte, meine Herrn...Welche Galanterien"
• Die lustige Witwe: Akt I. Dialog: "Ah, gnädige Frau, ich bin glücklich"
• Die lustige Witwe: Akt I. Auftrittslied: "O Vaterland... Da geh' ich zu Maxim"
• Die lustige Witwe: Akt I. Dialog: "Njegus, Geliebter, ich bin hier"
• Die lustige Witwe: Akt I. Finale I: "Damenwahl!"
• Die lustige Witwe: Akt I. Hilfe kommt zur rechten Zeit!
• Die lustige Witwe: Akt II. Introduktion, Tanz und Vilja-Lied: "Ich bitte, hier jetzt zu verweilen"
• Die lustige Witwe: Akt II. "Nun lasst uns aber wie daheim...Vilja, o Vilja, du Waldmägdelein"
• Die lustige Witwe: Akt II. "Mi velimo dase"
• Die lustige Witwe: Akt II. Dialog: "Gospodina, dieses vaterländische Fest"
• Die lustige Witwe: Akt II. Duett: "Heia, Mädel, aufgeschaut"
• Die lustige Witwe: Akt II. Dialog: "Graf! Graf Danilowitsch!"
• Die lustige Witwe: Akt II. Marsch-Septett: "Wie die Weiber...man behandelt?"..."Ja, das Studium der Weiber ist schwer"
• Die lustige Witwe: Akt II. Dialog: "Graf Danilo!"
• Die lustige Witwe: Akt II. Spielszene und Tanzduett
• Die lustige Witwe: Akt II. Dialog: "Ach! Sehen Sie"
• Die lustige Witwe: Akt II. Valse moderato
• Die lustige Witwe: Akt II. Duett und Romanze: "Mein Freund, Vernunft!"
• Die lustige Witwe: Akt II. "Wie eine Rosenknospe"
• Die lustige Witwe: Akt II. Dialog: "Ah, die Baronin und Herr Rosillon"
• Die lustige Witwe: Akt II. Finale II: "Ha! Ha!"
• Die lustige Witwe: Akt II. "Wie eine Rosenknospe"
• Die lustige Witwe: Akt II. "Den Herrschaften hab' ich was zu erzählen"
• Die lustige Witwe: Akt II. "Die Ehe ist für mich privat"
• Die lustige Witwe: Akt II. "Es waren zwei Königskinder"

• Verehrteste Damen und Herren
• Und jetzt, meine Herrschaften (Dialogue)
• So kommen Sie! 's ist niemand hier!...Ich bin eine anständ'ge Frau
• Excellenz, Exzellenz, die Glawari kommt ... (Dialogue)
• Frau Glawari darf keinen Pariser heiraten...Bitte, meine Herrn...Welche Galanterien
• Gnädige Frau, ich rechne es mir zu hohen Ehre an... (Dialogue)
• Also bitte, Njegus, ich bin hier...Da geh' ich zu Maxim
• Njegus, Geliebter, wo ist Vaterland ? (Dialogue)
• Damenwahl!...Es gibt keine gröss're Beleidigung...O kommt doch, oh kommt, ihr Ballsirenen
• Wie die Blumen im Lenze erblüh'n
• Der junge Mann tanzt Polka
• Ich bitte, hier jetzt zu verweilen
• Nun laßt uns aber wie daheim...Vilja, oh Vilja, du Waldmägdelein
• Was sagen Sie, Njegus, herrlich, herlich, dieses Fest (Dialogue)
• Heia, Mädel, aufgeschaut...Dummer, dummer Reitersmann
• Herr von Cascada, verzichten Sie auf die Witwe! (Dialogue)
• Wie die Weiber..Ja, das Studium der Weiber ist schwer
• Valencienne, bitte geben Sie mir wenigstens ein Andenken (Dialogue)
• Mein Freund, Vernunft!...Wie Sie mich quälen!
• Wie eine Rosenknospe...Sieh dort den kleinen Pavillon
• Die Baronin und Herr Rosillon sind im Pavillon (Dialogue)
• Ha! Ha!...Ha! Hanna und Camille! Mein ganzer Geist steht still...Wie eine Rosenknospe...
• Nun wissen Sie, meine Herrschaften...Die Wirkung ist ganz wunderbar!...Die Ehe ist für mich privat
• Ein flotter Ehestand soll's sein: ganz nach Pariser Art...Das hat Rrrrass so, tral-la-la-la-la!
• Es waren zwei Königskinder
• Njegus, was ist das für Musik?
• Ja, wir sind es, die Grisetten...
• Gospodina Glawari...Ja (Dialogue)
• Bei jedem Walzerschritt
• Exzellenz, man hat im Pavillon diesen Fächer gefunden (Dialogue)
• Ja, das Studium der Weiber ist schwer

• Overture
• March / Duet: A Highly Respectable Wife
• Hanna's Entrance / Gentlemen, No More
• Solo: I'm Off to Chez Maxim
• Duet: Proceed. One Girl Has Almond Eyes
• Finale: Ladies Choice
• Vijla Song: Let's All Now Waken Memories
• Duet: Such a Silly Soldier Boy
• Romanza: Love in My Heart Was Dying
• Finale: This Match Should Last at Least a Year
• The Cake Walk
• Njegus' Aria: I Was Born by Cruel Fate
• Cancan: We're the Famous Maxim Playgirls
• Duet: Love Unspoken, Faith Unbroken

• Verehrteste Damen und Herren...
• Danke, danke, mein Herrschaften...
• So kommen Sie! / Ich bin eine anständ'ge Frau
• Nun, Njegus waren Sie...
• Frau Glawari darf keinen Pariser heiraten / Bitte, meine Herrn...
• Gnädige Frau, ich rechne es mir zur hohen Ehre an...
• Also bitte, Njegus, ich bin hier. / Oh Vaterland, du machst bei Tag
• Njegus, Geliebter, ich bin hier... / Bitte noch, bitte noch...
• Damenwahl! / Meine Herrn im Prinzipe / Es gibt größ're Beleidigung... / Aber meine Herrn!
• Hilfe kommt zur rechten Zeit! / Wie die Blumen im Lenze erblüh'n
• Der junge Mann tanzt Polka... / Der Tanz, den die Gnädige gewährt
• Ich bitte, hier jetzt zu verweilen...
• Nun lasst uns... / Es lebt' ein Vilja...
• Was sagen Sie, Njegus...

• Die lustige Witwe: Akt 1 Einleitung - Verehrteste Damen und Herren (Cascada, Zeta & cast)
• Die lustige Witwe: So kommen Sie!... Ich bin eine anständ'ge Frau (Valencienne, Camille)
• Die lustige Witwe: Entrée-Lied der Hanna und Ensemble: Bitte, meine Herr'n! (Hanna, Cascada, St. Brioche & chorus)
• Die lustige Witwe: Auftrittslied: O Vaterland, du machst bei Tag... Da geh' ich zu Maxim (Danilo)
• Die lustige Witwe: Ja was? Ein trautes Zimmerlein (Valencienne, Camille)
• Die lustige Witwe: Akt 1 Finale: Damenwahl! Hört man rufen rings im Saal! (Hanna, Valencienne, Danilo, Camille, St. Brioche, Cascada & chorus)
• Die lustige Witwe: Akt 2 Einleitung, Tanz und Vilja-Lied (Hanna & chorus)
• Die lustige Witwe: Heia, Mädel... Dummer, dummer Reitersmann (Hanna, Danilo)
• Die lustige Witwe: Wie die Weiber man behandelt? (Danilo, Zeta, Cascada, St. Brioche, Kromow, Bogdanowitsch, Pritschitsch)
• Die lustige Witwe: Spielszene und Walzer-duett (Hanna, Danilo)
• Die lustige Witwe: Mein Freund, Vernunft! ... Wie eine Rosenknospe (Valencienne, Camille)
• Die lustige Witwe: Akt 2 Finale: Ha! Ha! Wir fragen (Hanna & cast)
• Die lustige Witwe: Entr'acte - Vilja-Lied
• Die lustige Witwe: Akt 3 Zwischenspiel: Tanz-Szene
• Die lustige Witwe: Ja, wir sind es, die Grisetten (Valencienne & cast)
• Die lustige Witwe: Lippen schweigen (Hanna, Danilo)
• Die lustige Witwe: Ja, das Studium der Weiber ist schwer (Hanna & cast)

• The Merry Widow
• Eva
• The Land of Smiles
• Gipsy Love
• Csárdás
• Pest Waltz O. 93

Born: 1870-04-30

Died: 1948-10-24