Die Schweigsame Frau

Die schweigsame Frau
Opera by Richard Strauss
The composer at the premiere with three singers of leading parts, Maria Cebotari in the title role, Erna Sack and Maria Hundt
Librettist	Stefan Zweig
Language	German
Based on	Ben Jonson's Epicoene, or the Silent Woman
Premiere	24 June 1935 (1935-06-24) Semperoper, Dresden

Die schweigsame Frau (The Silent Woman), Op. 80, is a 1935 opera in three acts by Richard Strauss with libretto by Stefan Zweig after Ben Jonson's Epicoene, or the Silent Woman.

Since Elektra and Der Rosenkavalier, with only the exception of Intermezzo, all previous operas by Strauss were based on libretti by Hugo von Hofmannsthal, who died in 1929. Stefan Zweig, who was then a celebrated author, had never met Strauss, who was his senior by 17 years. In his autobiography The World of Yesterday, Zweig describes how Strauss got in touch with him after Hofmannsthal's death to ask him to write a libretto for a new opera. Zweig chose a theme from Ben Jonson.

Strauss was seen as an important icon of German music by the Nazis, who had seized power over Germany in April 1933. Strauss himself was cooperating with the Nazis and became the president of the Reichsmusikkammer in November 1933. Stefan Zweig had got to know Strauss well through his collaboration and later wrote that:

to be co-operative with the national socialists was furthermore of vital interest to him, because in the national socialist sense he was very much in the red. His son had married a Jewess and thus he feared that his grandchildren, whom he loved above all else, would be excluded as scum from the schools; his earlier operas tainted through the half-Jew Hugo von Hofmannstahl; his publisher was a Jew. Therefore, to him it seemed more and more imperative to create support and security for himself, and he did it most perseveringly.

The fact that Zweig was a Jew was causing potential problems for the performance of the opera: in the summer of 1934 the Nazi press began to attack Strauss on this issue. Zweig recounts in his autobiography that Strauss refused to withdraw the opera and even insisted that Zweig's authorship of the libretto be credited; the first performance in Dresden was authorized by Hitler himself. Subsequent research has shown that Zweig's account is largely correct. We now know that there was an internal power struggle going on within the Nazi government. Joseph Goebbels wanted to use Strauss' international reputation and was willing to relax the rule against works with non-Aryan artists. However, Alfred Rosenberg was more critical of Strauss' unsoundness on the "Jewish question" and wanted to remove Strauss from his position and replace him with party member Peter Raabe. Goebbels took the matter to Hitler, who initially ruled in his favor. However, the Gestapo had been intercepting the correspondence between Strauss and Zweig, in which Strauss had been candid about his critical views of the Nazi regime and his role in it. This letter was shown to Hitler, who then changed his mind. The opera was allowed to run for three performances and then banned. On 6 July 1935, Strauss was visited at his home by a Nazi official sent by Goebbels and told to resign from his position as president of the Reichsmusikkammer on grounds of "ill health," less than 2 years after he had taken up the post. He was duly replaced by Peter Raabe, who remained in place until the fall of the Nazi regime. Although banned in Germany, the opera was performed a few times abroad, including Milan, Graz, Prague and Zurich. This would not the first time one of his operas had been banned: Kaiser Wilhelm had banned Feuersnot in 1902. Indeed, the propensity of totalitarian regimes to ban operas was not limited to Germany: a few months later in early 1936 Dmitri Shostakovich's opera Lady Macbeth of Mtsensk was banned by the Soviet regime. Zweig and Strauss continued to work together secretly (with Joseph Gregor), mainly on the libretto for the opera Friedenstag which was premiered in 1938. The story was almost wholly Zweig's, but the ideal of pacifism which it embodied was dear to both.