You are bidding on one transcript from the Schwerin Court Theater for a decorative painter.

Dated Schwerin, the 24th April 1861.

Signed by the artistic director, the important opera composer Friedrich von Flotow (1812-1883).

with beautiful Seal of the directorate.

Transcription: "The Grand Ducal Court Theater Intendantur hereby gives the decoration painter FW Pape the testimony that, during a seven-year engagement at the local court theater, he solved the most diverse tasks in Allen directions with special artistic ability, and in the rest of the behavior for the interests of the Hoftheater as well as in its bourgeois circumstances has managed to acquire the full satisfaction of the board members. Herr Pape leaves the court theater to seek out a sphere of activity more appropriate to his activity and is therefore highly recommended to Allen art directors. "

Scope: one page (30.5 x 19 cm).

About Friedrich Pape (here incorrectly referred to as "FW Pape"): CChristian Frederick Pape (according to death certificate) or george Frederick Pape (according to parallel offered certificates and the article "Friederik Pape" in the "Encyclopedia Teatru Polskiego"), b. around 1812 in Berlin as the son of the porter Georg Friedrich Pape and Charlotte Louise, b. Blancke, died as royal court theater painter on 22. November 1879 at the age of 67 in Berlin. He married Susette Rüppel from Berlin. As early as 1826 he began his career as an artist at the Berlin Court Theater as a student at the Royal Art Academy (and the court theater painter Gest). From 1830 to the end of 1834 he was a decorative painter and machinist at the Königsstadt Theater in Berlin. At the end of 1834 he undertook a two-year study trip to Italy on a royal grant. In 1836 he worked at the City Theater in Posen; In 1839 he returned to the Royal Municipal Theater for a year. From 1840 to 1847 he worked for the City Theater in Breslau, where he created 90 new sets. 1847-50 (at the Hamburg City Theater) and 1850 (at the State Theater in Prague) he created sets for the opera "The Prophet".

1850-53 at the court theater in Dresden; 1853 at the Hanover Court Theater (he was awarded the Medal for Art and Science for his work there), 1853-1860 at the Schwerin Court Theater, 1860 as a decorative painter and machinist at the Victoria Theater in Berlin (under the head of administration Luwig Scabell, who was famous as a fire director obtained). After Scabell's resignation, Friedrich Pape went to the Kai Theater in Vienna, which went up in flames in 1864. He then worked at the Royal Theater in Warsaw until 1871, then at the City Theater in Breslau until 1873, and in 1874/75 at the City Theater in Hamburg. In 1875 he returned to his hometown of Berlin, where he died on April 22. Died November 1879 at the age of 67 as a royal court theater painter. (Source: death certificate at ancestry and article in "Deutsche Bühnen-Genossenschaft" from 21. May 1876, p. 87; a copy of the entire article is available from me upon request).

Condition: Paper folded, browned, stained and creased, with creases. Please also note the pictures!

At the same time I offer further certificates for Friedrich Pape!

Internal note: KST 200610 light red folder

About Friedrich von Flotow and the theater (source: wikipedia):

Friedrich Adolf Ferdinand von Flotow (* 27. April [1] [2] 1812 in Teutendorf; † 24. January 1883 in Darmstadt) was a German opera composer.

Life: Friedrich von Flotow (No. 258 of the gender census) is one of the best-known representatives of the Flotow family, which has been documented since 1241 and belongs to the Mecklenburg nobility. He was born the second of four children and the eldest son of the landowner and Prussian Rittmeister Wilhelm von Flotow (1785–1847; No. 174) on Teutendorf (today a district of Sanitz) and Wendfeld and his wife, Caroline Sophie Rahel, b. von Böckmann (1792–1862). Both parents were musically educated. The father played the flute, the mother the piano. Flotow received his first knowledge of music in private lessons from his mother.

His father had actually planned a diplomatic career for Flotow, but when his musical talent became apparent, his father, on the recommendation of the clarinet virtuoso Ivan Müller, made him pursue the career of a musician. From 1828 [4] he studied composition with Anton Reicha [4] and piano with Johann Peter Pixis at the Conservatoire de Paris. There he befriended Charles Gounod and Jacques Offenbach, among others.

In 1830 Flotow returned to Germany for a short time. It was here that he composed his first dramatic works: Pierre et Cathérine, Rob Roy and La duchesse de Guise, which he then performed in Paris with great difficulty. The freshness of the melodies and the cheerful spirit expressed in these works were well received, and in 1838, without being asked, the director of the Théâtre de la Renaissance entrusted him with the composition of the second act of the genre opera Le Naufrage de la Méduse, which was performed 54 times within a year would.

These operas were followed in short intervals by Le forestier (1840), L'esclave de Camoëns (1843) and the ballet Lady Harriet (1844), composed in collaboration with Friedrich Burgmüller and Edouard Deldevez. In 1844 he was able to report his first major success with the opera Alessandro Stradella, which premiered in Hamburg. Together with his opera Martha or Der Markt von Richmond, which premiered in Vienna in 1847, it forms the basis for Flotows (until the mid-20th century). Century) high level of awareness. The libretti for the two operas came from Friedrich Wilhelm Riese (pseudonym: Wilhelm Friedrich), who wrote on older works that were created with the help of Flotow. Martha's text is based on Lady Harriet.

Flotow's later operas, such as Die Großfürstin (1850, libretto by Charlotte Birch-Pfeiffer), Rübezahl (1853, libretto by Gustav Gans zu Putlitz) or Albin (1856, Salomon Hermann Mosenthal), could not achieve any lasting success and only appear as pale reproductions of earlier works.

In 1848 Flotow returned to Mecklenburg to take over his father's inheritance. on the 21st August 1849 he married Elisabeth von Zadow (1832-1851). [5] In November 1855, after Elisabeth's early death, he married the dancer Anna Theen (1833–1872), who gave birth to three children, Wilhelm (1855–1872), Friedrich (1857–1918) and Karoline (1851–1864).

In the meantime, Flotow had been appointed court theater manager in Schwerin in 1855 and was appointed chamberlain for the Grand Duke of Mecklenburg. For the inauguration of the New Schwerin Palace in 1857 he composed the opera Johann Albrecht, Duke of Mecklenburg. La Veuve Grapin also comes from this creative period. In 1863 he gave up his post and moved to Vienna, where he joined the artist community Die Grüne Insel, for which he composed many songs. Flotow later participated in the founding of the German cooperative of dramatic authors and composers, which, similar to today's GEMA, was supposed to protect the composers' copyrights.

After von Flotow divorced his wife Anna in Vienna in 1867/68, he married on 9th August 1868 her sister Rosina Theen (1846–1925). From this marriage a daughter was born.

From 1870 to 1872 Flotow lived in Wiener Neustadt at Wiener Straße 31.

From 1880 on, Flotow lived with his sister Bernhardine Rößner in Darmstadt, where he had bought a villa. There he died almost completely blind on the 24th. January 1883 - three weeks before Richard Wagner. His grave is in the old cemetery in Darmstadt (grave site: III E 1/2/3/42/43/44).

Style: His other compositions include appealing music to Shakespeare's Winter Tales, some overtures, piano trios, two piano concertos and a number of songs.

Von Flotow cannot be considered a pioneering clay poet. Among other things, he leaned on composers from the Opéra comique - namely Auber and Boieldieu, but also Offenbach - whose witty grace he appropriated to a certain extent. In general, however, Flotow did not adopt a distinctive personal style, but composed eclecticism. Song-like elements refer to the German folk song. Most strikingly characteristic, however, are the soloist themes based on Italian melodramma, which are strongly reminiscent of Donizetti.

There is no spoken dialogue in Flotow's operas. However, they are not composed through-composed like Wagner's operas, but consist of individual chanting pieces that are linked by recitative passages.

All in all, a certain originality cannot be denied in his works, and even the more severe critic has to recognize the light, lively movement, the graceful flow of melodies, the skilful and effective instrumentation that make Flotow's operas easily consumable. It was not without reason that Martha was the most frequently performed opera in the second half of the 19th century. century.

Works (selection): Flotow created an extensive work in his life, but most of the compositional estate was destroyed in a fire in the archive of the Bote & Bock publishing house in Berlin during the Second World War. With a few exceptions, the personal estate has been lost. In 1955, the private Flotow archive was founded in Darmstadt as the central collection point.

stage works

operas

Pierre et Cathérine, 1833 Paris → Ger. Peter and Kathinka, 1834 Ludwigslust

Rob Roy (with Paul Duport and Pierre-Jean-Baptiste Desforges), 1836 Royaumont

Le Naufrage de la Méduse, 1839 Paris → Ger. The sailors, 1845 Hamburg

L'Esclave de Camoëns, 1843 Paris (German): Indra, the snake girl, 1852 Vienna

Alessandro Stradella, 1844 Hamburg

Martha or The Market of Richmond, 1847 Vienna, filmed in 1916: Martha

The Grand Duchess Sophia Catarina, 1850 Berlin

Rübezahl, 1853 Frankfurt am Main

Albin or The Foster Son, 1856 Vienna

Johann Albrecht, Duke of Mecklenburg, 1857 Schwerin

La Veuve Grapin, 1859 Paris → Ger. The widow Grapin, 1962 Berlin

Am Runenstein (opera in 2 sections), 1865 Vienna

L'Ombre, 1870 Paris (German: Ein Schatten, 1871 Vienna)

La Fleur d'Harlem, 1876 Turin

ballets

Lady Harriette ou La Servante de Greenwich (1. Act), 1844 Paris

The group of Thetis, 1858 Schwerin

The Tannkönig, a Christmas fairy tale, 1861 Schwerin

Instrumental works

orchestral works

piano concerto no. 1 in C minor, 1830

piano concerto no. 2 in A minor, 1831

Jubelouverture in F major, 1852

Torch dance in E flat major, 1853

chamber music

6 Chants du soir for cello and piano, 1839 (with Jacques Offenbach); Music publisher zimmermann 1995

6 Rêveries for violoncello and piano, 1839 (with Jacques Offenbach); Edition Massonneau 2014

Trio de salon in A minor for violin, violoncello and piano, 1845; Edition Massonneau 2013

Sonata for violin and piano in A major op. 14, 1861; Edition Dohr 2012

Fantasy for flute and piano op. 16 (under op. 16 another work is registered with Bothe and Bock)

Nocturne for oboe and piano (with Carl Wacker), op. 47; tre media

Quartet for violin, cello, horn and piano in G minor

String quartet; Accolade 2011

piano music

Pièce à quatre mains, 1833

Trois Valses allemandes, un galop et une mazurka, 1833

6 studies for piano four hands, 1874

Songs

4 Savoyard songs op. 17, 1875

3 songs and ballads:

Homesickness: "I want to go home again"

Song of the wet nurse: "Close your eyes, lovely boy"

Spring wish

3 songs:

Silvia: "Does he ever return?"

Serenade: "For an hour"

Longing for the nightingale

4 songs: (No. 1 and 4 missing)

2. Christabel

3. "Alone, not yet alone"

The Mecklenburg State Theater is a six-part theater in the state capital Schwerin and the city of Parchim. The GmbH is supported by the state of Mecklenburg-Western Pomerania (74.9%), the district of Ludwigslust-Parchim (10%), the state capital Schwerin (10%) and the city of Parchim (5.1%). In addition to numerous new productions, the theater organizes the Schwerin Castle Festival every year in the middle of the residential ensemble with Schwerin Castle, State Theater and State Museum. General director and managing director has been since 1. August 2016 Lars Tietje, General Music Director is Daniel Huppert. The artistic directors of the theater also consist of Angela Kalms (artistic operations director), Toni Burkhardt (opera director), Martin Nimz (drama director), Jutta Ebnother (ballet director), Rolf Petersen (director of the Fritz Reuter stage), Thomas Ott-Albrecht (director of the Junge Staatstheaters Parchim), Peter Larsen (chief dramaturge), Victoria Louise Tafferner (director of the Mecklenburgische Staatskapelle Schwerin) and Nele Tippelmann (director of theater education, mediation and participation).

In June 2020 it was announced that general management would be transferred to Hans-Georg Wegner for the 2021/2022 season. Christian Schwandt will be the new commercial director. [1]

History: The beginning of the music and theater history in Schwerin is generally the 17th June 1563, when Duke Johann Albrecht I of Mecklenburg appointed Kapellmeister David Köler (* before 1532, † 1565) as court conductor and at the same time commissioned him to found a court orchestra. This court orchestra is the origin of today's Mecklenburg State Orchestra Schwerin, which is the third oldest orchestra in Germany after Dresden and Kassel.

In 1753, the actor Conrad Ekhof (1720–1778), who was already known as the father of German drama during his lifetime, co-founded the first German theater academy in Schwerin.

Under the reign of Frederick the Pious from 1756, the focus of music shifted from theater and dance music to church music. From 1767 (for 70 years) the Mecklenburg-Schwerin court orchestra had to take its seat in the new royal seat of Ludwigslust. From 1790 operas were performed in Ludwigslust. In 1801 Friedrich Franz I of Mecklenburg founded a chapel with only nine members called Harmonie, which was merged with the existing court chapel in 1839. In 1840 the Second North German Music Festival took place in Schwerin, at which 150 orchestral musicians and 340 choir singers performed under the direction of Felix Mendelssohn Bartholdy.

In 1886, after a five-year construction period, the theater began operating in the new building in Alter Garten 2 of the now Grand Ducal Court Theater. on the 15th November 1918 the theater was renamed the State Theater. In 1926 it was named Mecklenburgisches Staatstheater. During this time the Low German Stage was connected to the State Theater. The game lasted until 31. August 1944, the day all theaters were closed by Reich Propaganda Minister Goebbels.

After the Second World War, gaming operations could be resumed immediately in the building that had been spared from destruction. Werner Bernhardy was artistic director from May 1945 to 1947, then the Berlin actor and director Josef R. Lorandt for a few months until his death, [2] after which a board of trustees, including Edgar Bennert and Lucie Höflich, headed the house.

The Castle Festival has been taking place every summer since 1993, the backdrop of which has been relocated from the inner courtyard of Schwerin Castle to the Old Garden since 1999. In that year, Aida attracted more than 50,000 visitors. The previous record with over 70,000 visitors came in 2001 with the Verdi opera Nabucco.

In 2011 the theater was invited to the Berlin Theatertreffen with Herbert Fritsch's production of Gerhart Hauptmann's Der Biberpelz.

In 2011, the Palace Festival presented Der Freischütz by Carl Maria von Weber for the first time on the open-air stage in the palace garden due to the renovation of the Old Garden. In the following years the number of visitors decreased slightly. With Leonard Bernstein's West Side Story, the first musical production in the Alter Garten, significantly more visitors visited the festival in 2017 than in the previous year. In 2018, the theater will for the first time use both the Alten Garten Schwerin (with the opera Tosca) and the renovated courtyard (with the play Dracula). The musical Anatevka in the Old Garden and the play Cyrano de Bergerac in the palace courtyard are planned for 2019.

For the 1st August 2016 merged the former Mecklenburgisches Staatstheater Schwerin gGmbH (sponsored by the State Capital Schwerin) with the former Zweckverband Mecklenburgisches Landestheater Parchim (sponsored by the district of Ludwigslust-Parchim and the city of Parchim) to form today's Mecklenburgisches Staatstheater GmbH. As the main shareholder, the state of Mecklenburg-Western Pomerania took over 74.9% of the theater. The Mecklenburg State Theater is thus the only state theater in Mecklenburg-Western Pomerania to date.

As part of the state-wide theater structure reform initiated by the state government and the then Minister for Education, Science and Art, Mathias Brodkorb (SPD), the theater has to provide considerable consolidation services in addition to the merger, which among other things lead to a reduction in the number of theater productions and events. In addition to the Mecklenburgische Staatskapelle Schwerin, which is the smallest A-Orchestra in Germany with 58 members, the opera choir had to be reduced to 24 and the ballet ensemble to 14 members. In addition, members of the orchestra and opera choir receive only 84% or 90% of the remuneration to which they are entitled according to the collective agreement. Compensation takes place primarily through additional free time. In return, the state assumes the main responsibility for the entire GmbH as well as structurally for the historic main building at the Alter Garten and supports the construction of a new theater at the Parchim location as a replacement for the former theater building of the Mecklenburg State Theater in Parchimer Blutstrasse, which has been closed since 2014 due to significant security deficiencies.

directors

Friedrich von Flotow 1855–1863

Gustav Gans zu Putlitz 1863–1867

Alfred von Wolzüge 1867–1883

Carl von Ledebur 1883–1910

...

Werner Bernhardy 1945–1947

Josef R. Lorandt 1947

(Headed by a board of trustees) 1947–1948

Otto Kähler 1948–1949 // Lucie Höflich 1947–1950 (?)

Edgar Bennert provisionally 1949–1951, 1951–1960

...

Martin Hellberg 1962–1963, general manager

...

Christoph Schroth 1974–1989, Artistic Director [3]

Fritz Wendrich 1981–1982 (?), General manager

Joachim Kümmritz, 1993–1999 managing director, 1999–2016 general director

Lars Tietje, general manager since 2016