Wolf's Glen

Wolf’s Glen

scene of macabre uproar. [Ger. Opera: von Weber, Der Freischütz, Westerman, 139–140]
See: Evil
Allusions—Cultural, Literary, Biblical, and Historical: A Thematic Dictionary. Copyright 2008 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
True, the cast was perhaps deficient in its declamation of English dialogue (the singing was in German), but the whole production, including Gerard Gauci's atmospheric sets (especially well lit by Bonnie Beecher and projection-enhanced in the spooky Wolf's Glen Scene by Raha Javanfar) and Martha Mann's costumes, successfully conjured up the world of early Romantic opera.--Reviews from Toronto by William Littler
Broadly speaking, C major is used in connection with the realm of good, and D major with the natural world, while evil, unnatural forces are associated most strongly with C minor.(2) At the same time; the opera employs at least one virtually leitmotivic element in the F[sharp] diminished seventh chord associated with Samiel.(3) This chord is expressed not only as a simultaneity but also, in the Wolf's Glen scene of Act II, as a succession of tonal centres: F[sharp]-C-E[flat]-A-C-A-C-F[sharp].
the implications of Max's announcement that he must venture at once into the Wolf's Glen, he gazes out of the window and observes:
As is well known, the key sequence of the extended finale of Act II (the Wolf's Glen scene) functions as a tonal spelling-out of what had formerly been a harmonic idea (the Samiel chord).
A second essay of particular interest is Newcomb's "New Light(s) on Weber's Wolf's Glen Scene," I suspect that almost every music history instructor who reads this review has taught Carl Maria von Weber's famous half hour from Der Freischutz.
This centrepiece of the five-act opera is Meyerbeer's equivalent of Weber's "Wolf's Glen. "The famous dance of the naughty nuns risen from the grave was enacted to sinisterly sensual effect by the corps de ballet, deftly negotiating a set liberally strewn with gothic monuments.
Newcomb's piece, following in the spirit of the 'operatic' introduced by Tomlinson, develops a fascinating connection between the invention early in the nineteenth century of the Disney-like phantasmagoria and Weber's Wolf's Glen Scene in Der Freischutz.
In Act III, when Kaspar and company returned from the Wolf's Glen, their dialogue took place in a pre-recorded video projected onto both proscenium walls.
Richter's version of the Wolf's Glen scene included three-metre flames so hot their heat could be felt throughout the 27 rows of the Haus fur Mozart's parterre.
Lynch and Kubrick aside, this Wolf's Glen scene hinged on the Kaspar of Canadian John Relyea, who was simply a monster in this role, evil to the core.
Traditionally staged, it was given almost uncut (including the oft-deleted Wolf's Glen scene).