Abel Seyler
Swiss-born theatre director (1730–1800)
Abel Seyler (23 August 1730, Liestal – 25 April 1800, Rellingen) was a Swiss-born theatre director and former merchant banker, who was regarded as one of the great theatre principals of 18th century Europe. He played a pivotal role in the development of German theatre and opera, and was considered "the leading patron of German theatre" in his lifetime.2
From Wikipedia’s article on Abel Seyler (this version), CC BY-SA 4.0.
Born Aug 23, 1730, died Apr 25, 1800.1
About
He supported the development of new works and experimental productions, helping to establish Hamburg as a center of theatrical innovation and to establish a publicly funded theater system in Germany. Working with some of Germany's foremost actors and playwrights of his era, he is credited with pioneering a new more realist style of acting, introducing Shakespeare to a German language audience, and with promoting the concept of a national theatre in the tradition of Ludvig Holberg, the Sturm und Drang playwrights, and serious German opera, becoming the "primary agent for change in the German opera scene" in the late 18th century. Already in his lifetime, he was described as "one of German art's most meritorious men."
The son of a Basel Reformed priest, Seyler moved to London and then to Hamburg as a young adult, and established himself as a merchant banker in the 1750s. During the Seven Years' War and its immediate aftermath his bank Seyler & Tillemann engaged in an ever-increasing and complex, "malicious" speculation with financial instruments and went spectacularly bankrupt with enormous debts in the wake of the Amsterdam banking crisis of 1763, resulting in a decade of expansive litigation. Although they were wealthy bankers, Seyler and his business partner were "in no way representatives of the Hamburg bourgeoisie." A flamboyant bon vivant who was regarded with suspicion in Hamburg, Seyler symbolized a new and more aggressive form of capitalism.
Seyler's admiration for the tragic actress Sophie Hensel (Seyler), who later became his second wife, led him to devote himself entirely to theatre from 1767 onwards. He used his remaining funds to become the main shareholder, benefactor and effective leader of the idealistic Hamburg National Theatre, that became a leading cultural institution in Germany. His theatre employed Lessing as the world's first dramaturg, culminating in the work Hamburg Dramaturgy that defined the field and gave it its name. In 1769, Seyler founded the travelling Seyler Theatre Company, which became one of the most famous theatre companies of Europe during the period 1769–79 and regarded as "the best theatre company in Germany at that time." The company was to a large degree centered around his would-be wife and his close collaborator Konrad Ekhof, Germany's most famous actress and actor at the time, respectively. He initially held the Hanoverian privilege as theatre director and his company later stayed for three years at the court of Duchess Anna Amalia in Weimar and for a year at the ducal court in Gotha. His company's arrival in Weimar is regarded as the earliest starting point of Weimar Classicism. From 1779 to 1781 he was the founding artistic director of the Mannheim National Theatre. He commissioned works such as Sturm und Drang by Klinger (which gave its name to the era), Ariadne auf Naxos by Benda and Alceste by Schweitzer, considered "the first serious German opera."
Seyler mostly focused on the artistic, economic and administrative management of his theatrical company; his own lack of a background as an actor and his former profession as a merchant banker, made him stand out among the theatre principals of his era in a profession that was just starting to gain respectability. In this sense, Seyler occupies a transitional position in the history of theatre leadership. Neither an actor-manager in the traditional sense nor a court-appointed patron, he anticipated the later separation of managerial, artistic, and directing functions that would become characteristic of the modern theatre director and producer. His wife's 1789 Singspiel Huon and Amanda (or Oberon), set to new music by Paul Wranitzky, was performed by Emanuel Schikaneder's theater troupe and by the Weimar court theater under the direction of Goethe, and was a major influence on The Magic Flute, establishing the Schikaneder theatre's tradition of fairy tale operas. The principal founder of biochemistry and molecular biology, Felix Hoppe-Seyler, was an adopted son of his grandson.
From Wikipedia’s article on Abel Seyler, shared under CC BY-SA 4.0.2
Companies
- Seyler & TillemannFounder10
Early life and education
Abel Seyler was born in 1730 in Liestal outside Basel in Switzerland. He was the son of the Reformed clergyman, Dr.theol. Abel Seyler (Seiler) (the elder) (1684–1767), who was parish priest of Frenkendorf-Munzach in Liestal from 1714 to 1763, and Anna Katharina Burckhardt (1694–1773). He grew up in a learned and pious Reformed family and was descended from or closely related to all of the most prominent patrician families of Basel on both his parents' sides. His mother belonged to the noted Burckhardt family, that was considered the most powerful family in the canton of Basel during the 17th and early 18th century. He was a paternal grandson of the theologian Friedrich Seyler and Elisabeth Socin, a member of an Italian-origined noble family, and he was named for his great-grandfather, the Basel judge and envoy to the French court Abel Socin (1632–1695). He was also descended from the Merian and Faesch families. He was a matrilineal descendant of Justina Froben, daughter of the humanist Johann Froben; he thus belonged to the same matriline as Anna Catharina Bischoff. He had a sister, Elisabeth Seiler (1715–1798), married to parish priest Daniel Merian. He was distantly related to Cardinal Joseph Fesch, Napoleon's uncle; they were both descended from the Basel silk merchant, politician and diplomat Johann Rudolf Faesch (died 1659), who was Burgomaster of Basel and led the city's pro-French faction.
Although his parents belonged to families that were highly respected in Basel, Abel Seyler grew up in rather modest material circumstances. His father's congregation was small, and the parish church and rectory were in poor condition. His father also failed in his attempt to have the church restored. As a parish priest, his father did not have a fixed income but presumably lived off payments for church services, gifts and occasional government contributions. It was only when he retired in 1763 that his father received a fixed income, a pension of 600 pounds.
From Wikipedia’s article on Abel Seyler (this version), CC BY-SA 4.0.
Career
Occupation: actor, banker, merchant, theatre director, director, stage actor, theatre manager.4
- Date not recordedFounded Seyler & Tillemann3
Personal life
- BornAug 23, 1730, Liestal5
- DiedApr 25, 1800, Rellingen6
- Citizenshipcanton of Basel7
- ResidenceLeipzig, Mannheim, Weimar, Dresden, Liestal, Hanover, Rellingen, Gotha, Schleswig, Hamburg, Frankfurt8
- SpouseFriederike Sophie Seyler 1772 to 17899
Abel Seyler was married in his first marriage from 1754 to Sophie Elisabeth Andreae (1730–1764), the daughter of the wealthy Hanoverian court pharmacist Leopold Andreae (1686–1730) and Katharina Elisabeth Rosenhagen (died 1752). Her parents were already deceased and her only close relative was her older brother and only sibling, the court pharmacist J.G.R. Andreae, who became a noted Enlightenment natural scientist. The wedding took place in Hanover and Abel and Sophie Elisabeth had two sons and a daughter: Abel Seyler (the Younger), who became court pharmacist in Celle and who was a member of the Illuminati; L.E. Seyler, a prominent Hamburg banker and politician; and Sophie Seyler, who married the Sturm und Drang poet Johann Anton Leisewitz, the author of Julius of Taranto.
After the death of his first wife in 1764, their children were raised in Hanover by their maternal uncle. By several accounts J.G.R. Andreae was a highly erudite, generous and kind man who became a loving father figure to his sister's children; he had no children of his own. The children since had limited or no contact with their father, and all lived more conventional lives than him. They inherited the Andreae pharmacy from their uncle on his death in 1793.
In 1772 Abel Seyler married the actress Friederike Sophie Seyler (formerly married Hensel). They had no children.
The principal founder of biochemistry and molecular biology, Felix Hoppe-Seyler, was an adopted son of his grandson. Seyler was a godfather of Jacob Herzfeld (born 1763), known as the first Jewish stage actor in Germany, when the latter converted to Christianity in 1796.
From Wikipedia’s article on Abel Seyler (this version), CC BY-SA 4.0.
Legal issues and controversies
At the court of Duchess Anna Amalia (1771–1774)
In 1771 the Seyler Company was invited to the ducal court in Weimar by Duchess Anna Amalia, the composer and noted patron of the arts, and Seyler again became the company's principal. They were warmly welcomed by Anna Amalia and her court in October 1771, and were generously paid; the company performed three times a week for select guests at the Weimar ducal court. In 1771 Anna Amalia was a 32-year old widow who reigned as regent on behalf of her young son. The Seyler Company's arrival in Weimar marked the infancy of the cultural era known as the Weimar Classicism, when the Duchess invited many of the most eminent men in Germany to her court in Weimar, including Herder, Goethe and Schiller. The year after Seyler's company arrived in Weimar, the Duchess invited Christoph Martin Wieland to Weimar to educate her two sons. Wieland had just published his modern and ironic mirror-for-princes work, Der goldne Spiegel oder die Könige von Scheschian. Wieland became an important friend and collaborator of both Seyler, and later Goethe.
Adam Shoaff notes,
While in Weimar, the Seyler troupe established a reputation as one of the most formidable companies in Germany, thanks to its composer, Anton Schweitzer (1735–87); their leading soprano, Franziska Koch; [...] and two other talented singers, Josepha and Friedrich Hellmuth. Its production of Schweitzer’s Alceste (1773), with a libretto by Christoph Martin Wieland (1733–1813), marked a significant moment in German opera history: Alceste was the first full-length serious opera in German.
In 1772 he reunited with his love interest Friederike Sophie Hensel, who had stayed at the Vienna Burgtheater for the past year, and they finally married in November 1772 in Oßmannstedt just outside Weimar.
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At the Gotha court (1774–1775)
After the palace fire in Weimar in May 1774, Anna Amalia was forced to dismiss the Seyler Company, and they left with a quarter year's wages and a letter of recommendation to Duke Ernest II in Gotha. Seyler thus missed Goethe's arrival at the Weimar court a year later. The Seyler Company remained for one year at the ducal court in Gotha, where Seyler and other of the troupe's members also involved themselves in the broader cultural and social life, and in freemasonry. In Gotha Seyler met the Bohemian composer Georg Anton Benda and commissioned him to write several successful operas, including Ariadne auf Naxos, Medea and Pygmalion. At its debut in 1775, Ariadne auf Naxos received enthusiastic reviews in Germany and afterwards, in the whole of Europe, with music critics calling attention to its originality, sweetness, and ingenious execution. It is widely considered Benda's best work, and inspired Mozart.
From Wikipedia’s article on Abel Seyler (this version), CC BY-SA 4.0.
Links
Sources
The numbers on this page point here. Each one links to the record it came from.
- 1WikidataAbel Seyler on Wikidata
- 2WikipediaAbel Seyler on Wikipedia
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- 9WikidataAbel Seyler: spouse, on Wikidata
- 10WikidataSeyler & Tillemann, Founder
- 11Wikimedia CommonsAbel Seyler photo by Unknown (svg by Vanasan), Public domain