Albert Lortzing

Albert Lortzing um 1830
Albert Lortzing around 1830

Gustav Albert Lortzing (* 23. October 1801 in Berlin; † 21. January 1851 ebd.) was a German composer, actor and a singer.

It is considered as a main representative of the German play opera, in that thoseromantic opera and the popular opera flow together.

Table of contents


Lortzing was born as a son of the former leather dealer Johann God-dear Lortzing and its wife Charlotte Sophie. Parents basedthe citizens of Berlin theatre company URANIA and made their hobby the occupation, gave the business up and pulled as an actor (“Gaukler”) by nearly all German provinces.

1811 drew the family after Breslau to the there theatre, in the summer 1813 had it inCommitment in Bamberg, afterwards in Coburg, then in Strasbourg, in Baden-Baden and in Freiburg. First stage appearance of the son was in the grain house at the free citizen Münster, where the 12jährige entzückte into tracing “under lively applause” the public with amusing poems.Starting from 1817 family Lortzing belonged to the ensemble of Josef Derossi in the Rhine country, at the stages of Bonn, Aachen, Duesseldorf, Barmen and Cologne. The young Lortzing became the public favourite in the role subjects Naturbur, juvenile lover and Bonvivant, it becamein addition, engages as a singer (tenor).

To 30. January 1824 married Lortzing the actress Rosina Regine Ahles. With their it had eleven children. Starting from autumn 1826 the young married couple Lortzing belonged to the yard theatre in Detmold, thatalso Münster and Osnabrück taped, where Lortzing the Freimaurern followed, which in the Polzeistaat among chancellors Metternich a popular refuge for artists was. In Detmold Lortzing composed among other things a Oratorium “the Ascension Day Christi”, which was uraufgeführt in Münster, certainlywith a Rüge of the Münster head of the provincial government, there the actor Lortzing “as Compositeur quite has no call”. In Detmold escalated in the meantime a controversy with the eccentric poet Christian Dietrich Grabbe, which was however soon settled. For Grabbes only drama, thatto its lifetimes on a stage, composed Lortzing stage music came; it appeared in the role of the Don Juan, his wife as Donna Anna, for which Lortzing in a Frankfurt newspaper of an anonym one over-swan-resembled praising criticism received, praisedbecame certainly also the drama of “this ingenious poet” - Rezensent was an ingenious poet.

Fixed image Lortzings in the zoo, Berlin

at the 3. The young Lortzings their debut at the Leipziger city theatre gave November to 1833, where since 1832 also Lortzings parents of membersthe ensemble of Friedrich Sebald Ringelhardt were. Here Lortzing became member of the artist club society over the Pleisse, and 1834 he followed the Leipziger Freimaurerloge Balduin to the lime tree. Also in the Leipziger ensemble was Lortzing extremely likes, shone forwardseverything in Nestroy comedies. Its inclination to the Improviseren, to deviating from the authorized role text made it however the case of problem for the theatre police. Also its first amusing operas did not have it under the Leipziger censorship simply. “Zar and Carpenter”, where it overa bornierte authority goes, came only to the first performance into Berlin (1839) to umjubelten success.

1844 became Lortzing Kapellmeister at the city theatre Leipzig. In April 1845 Lortzings of rheumatism tables complaints were the advanced reason of a notice. At its dismissal also those could did not repeat protests of the public anything change. In an open letter, which nearly everything signed in the ensemble, he had raised against measures of the town councillor Einspruch. Between 1845 and 1847 Lortzing worked Vienna as a Kapellmeister at the theatre at that. 1848 wroteit for the liberty movement text and music to its political opera “Regina”, designated after its wife, a work, in that it after today's terms around terror goes and also around suicide terror. Last evening-filling opera was 1849 its fairy tale satire on thatMilitary state Prussia of “Roland Knappen”, where e.g. in the Kehrreim one asks: “And that should be a world order?” 1848 it lost its commitment, had then, in order to survive with the large family, again as an actor back on different stages (Gera, Lueneburg),1850 last was it in Berlin Kapellmeister at a political Possentheater (today “German theatre”).

In the morning 21. January 1851 Albert Lortzing under extra large requirements died and is to blame for. To the funeral on II. Sophien cemetery in Berlin center found four days lateritself among other thingsGiacomo Meyerbeer, Heinrich thorn, William deaf ore and Carl Friedrich Rungenhagen . Lortzings theatre colleagues had lined its coffin with the colors black, red and gold, a constellation, which was forbidden after 1848.

works (selection)

  • The Ascension Day Christi Oratorium (Münster 1828)
  • scenes from the Mozarts' life (Münster 1832)
  • the Christamas Eve (Münster 1832)
  • both contactors (Leipzig 1837)
  • the Zar and Carpenter (Leipzig 1837)
  • Hans Sachs (Leipzig 1840)
  • Casanova (Leipzig 1841)
  • that game contactor (Leipzig 1842)
  • Undine (Magdeburg 1845)
  • weapon-forge (Vienna 1846)
  • Regina (“liberty opera”, did not develop in Vienna 1848, specified to lifetimes Lortzings, after Lortzings Hss. for the first time in gel churches 1998)
  • of Roland Knappen or the desired luck (Leipzig 1849, without censorship lines for the first time 2005in Freiberg/S.)
  • the opera sample (Frankfurt 1851)


  • Irmgard Capelle: Chronological topic table listing of the works by Gustav Albert Lortzing (LoWV). Studio, Cologne 1994 ISBN 3-89564-003-4
  • Irmgard Capellle: Albert Lortzing. All letters, bear rider, Kassel, 1995, ISBN 3-7618-1178-0
  • HansChristoph Worbs:Albert Lortzing. Rowohlt, Reinbek 1980 ISBN 3-499-50281-X
  • Heinz ski-likes: Albert Lortzing. Gloss and misery of an artist life. Henschel, Berlin 1995 ISBN 3-89487-196-2
  • Jürgen Lodemann: Lortzing. Life and work of the sealing, composing and singing public favourite, family father and amusinglytragic play opera world champion from Berlin. Steidl, Goettingen 2000 ISBN 3-88243-733-2
  • Jürgen Lodemann: OPERA - O PURE NONSENSE - Albert Lortzing, Opernmacher. Edition WUZ, No. 19, free mountain a.N. 2005

Web on the left of

Wikiquote: Albert Lortzing - quotations
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| | * Literature of and over Albert Lortzing in the catalog of the DDB



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