Thematically, the opera has been interpreted as a parody of Richard Wagner's idea of "redemption through love", with the character of Kunrad representing Strauss himself. The conceptual framework for the opera stems from the Nietzschean perspective that had inspired Strauss in his tone poems Till Eulenspiegel and Also sprach Zarathustra. Strauss and von Wolzogen shared the view that the source of inspiration was material not transcendental: in Feuersnot it is "redemption through sex" which relights the creative fire.
| Librettist | Ernst von Wolzogen (based on J. Ketel's report "Das erloschene Feuer zu Audenaerde") |
| Date of composition | 1901 (1900-1901) |
| Premiered | 1901, November 21st in Dresden, Germany |
| First published | 1901 |
| Type | Opera |
| Catalogue | TrV 203 |
| Approx. duration | 70 minutes |
| Spoken language | German |
| Instruments |
Orchestra
Male Chorus Children's chorus Voice (Tenor) - Schweiker von Gundelfingen, the bailiff Voice (Bass) - Ortolf Sentlinger, the mayor Voice (Soprano) - Diemut, Ortolf's daughter Voice (Mezzo-Soprano) - Elsbeth, Ortolf's friend Voice (Contralto) - Wigelis, Ortolf's friend Voice (Soprano) - Margret, Ortolf's friend Voice (Baritone) - Kunrad, the alchemist Voice (Bass) - Jörg Pöschel, the Leitgeb Voice (Baritone) - Hämmerlein, the haberdasher Voice (Bass) - Kofel, the blacksmith Voice (Bass) - Kunz Gilgenstock, the baker and brewer Voice (Tenor) - Ortlieb Tulbeck, the cooper Voice (Contralto) - Ursula, his wife Voice (Tenor) - Ruger Asbeck, the potter Voice (Soprano) - Walpurg, his wife |
| Autotranslations beta |
Richard Strauss: Feuersnot, TrV 203 Richard Strauss: Feuersnot, TrV 203 Richard Strauss: Feuersnot, TrV 203 |