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The Tagebuch des Königl. Sächs. 67 The Italian and German “companies,” as well as the Schauspiel, are considered as part of one organization, under the direction of Count Carl von Vitzthum. As the senior Kapellmeister, Morlacchi is menIntroduction 23 tioned next, followed by Weber as Kapellmeister des deutschen Theaters. The Tagebuch next mentions Franz Anton Schubert, Kirchenkompositeur, indicating the continued importance of music for the Katholische Hof kirche. 68 The list of personnel in the Tagebuch continues with Friedrich Hellwig, as regisseur of both the German opera and the German Schauspiel, followed by Luigi Bassi as regisseur of the Italian opera (Bassi was also one of Morlacchi’s more important singers).

Was Alsace a part of France or Germany? From reading the pages of the Allgemeine musikalische Zeitung or the Tagebuch der deutschen Bühnen, one has the impression that many Eastern European cities, such as Riga, Prague, or even St. 53 The effort to de¤ne a speci¤cally German opera was an aesthetic corollary to this political border anxiety. Like the German nation itself, the character of German opera had to be located on a kind of “mental map,” in this case a mental map of musical genre. Terms had to be de¤ned and borders erected.

Fewer Italian singers performed at the German opera, but the practice was not unknown. The court also demanded a large amount of “festival music” for the Saxon court—a cantata for the marriage of a Saxon princess or special music for the ¤ftieth jubilee of King Friedrich Augustus—for which the resources of both companies were used. But despite the fact that both companies were ultimately dependent on the same government support, Weber and Morlacchi jealously guarded their own prerogatives and often competed ¤ercely with each other.

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