The Wagnerian

A Concerned Author Suggests What Form The New, 1914, Covent Garden Ring Cycle Might Take

2023-05-28T14:15:00.005+01:00

Those who critique the arts are ever-abounding in opinions. And the question of what constitutes a “superior” rendition of the Ring Cycle has long been a source of contention. As proof, presented here is a page from “The Illustrated London News" of the 25th April 1914, which employs both words and images to examine various possibilities for the scenic design of Wagner’s magnum opus. Also included is a schedule of all the operas by Wagner that would grace the stage of Covent Garden in the forthcoming season. To complement this, they offer two portraits of the esteemed Herr Johannes Sembach, portraying Siegmund in Die Walküre and the eponymous hero in Lohengrin. Clicking on the image should allow you to read the text. From the archives of the V&A

Review: "The Cambridge Companion to Wagner’s Der Ring des Nibelungen

2023-05-28T02:06:00.000+01:00

This is a review that has been long in the making, as long as Wagner spent on the Ring Cycle - or so it has seemed to me. It started and changed many times in the most stiff and formal way. An early draft begins something like this:

"The Cambridge Companion to Wagner’s Der Ring des Nibelungen is a valuable and comprehensive guide to one of the most complex and influential works of art ever created. The book consists of fifteen chapters, divided into four parts: Myth, Aesthetics, Interpretations, and Impact. The contributors are experts in various fields, such as musicology, literature, philosophy, history, and performance studies, and they offer a range of perspectives on Wagner’s tetralogy and its reception.

The first part, Myth, explores the sources and meanings of the myths that Wagner adapted for his epic drama. Jason Geary examines the influence of Greek tragedy and myth on Wagner’s conception of drama and music, while Stefan Arvidsson traces the origins and development of modern mythology in the nineteenth century and its impact on Wagner’s worldview."

Dull! Dull! You could read as much on the publisher’s website. And for those readers that would prefer to read as such, there are many to find. But for us - and by being here I hope to include you - the Ring is a living work of art. The ultimate union of music and theatre, literature and philosophy, mythic and social, the conscious and unconscious. It lights up the dawn of modernity. Without it, and Wagner’s other work, there are no giants such as Strauss, Schoenberg, and Mahler - or at least as we know them. Here lie the seeds of psychoanalysis, maybe cinema and surely the film soundtrack. So any good book on this masterpiece deserves something else. And by goodness is this the book that at last, after many, many tries, begins to do this work justice. Is it perfect? The only perfection can be found on the shining, unreachable heights that hold Plato’s Forms. Nothing on this earth can ever be perfect. But in the wise editorial hands of Mark Berry and Nicholas Vazsonyi, with only a few slips, this is the best we have got so far. So with that wandering, opening out of the way, onto:

The Cambridge Companion to Wagner's Der Ring des Nibelungen"
Editors: Mark Berry · Nicholas Vazsonyi
Sep 2020 · Cambridge University Press

Der Ring des Nibelungen is a great work of art, a living thing that breathes and burns with the fire of Wagner’s soul. It is a drama of myths and men, of gods and heroes, of love and power, of life and death. It is a music that speaks to the blood and the nerves, that stirs the passions and the senses, that awakens the spirit and the mind. It is a vision that challenges and transforms, that inspires and provokes, that reveals and conceals.

This book is a guide to that work, a companion for those who want to know it and feel it. It has four parts, each with different voices and views. The first part tells of the myths that Wagner used for his drama, how he took them from the Greeks and the Germans, how he made them his own. It shows how Wagner was influenced by the tragedy and the myth of ancient Greece, how he admired the art and the philosophy of Aeschylus and Sophocles. It also shows how Wagner was fascinated by the saga and the legend of medieval Germany, how he explored the history and the culture of the Nibelungs and the Volsungs. It explains how Wagner combined these sources into a new mythology, a modern mythology that reflected his own ideas and feelings.

The second part tells of the music and the drama, how Wagner wrote them and shaped them, how he made them one. It shows how Wagner developed his theory and practice of music drama, how he aimed to create a total work of art that integrated music, poetry, action, and spectacle. It also shows how Wagner composed his music and his drama, how he used leitmotifs, themes, and motifs to create a musical narrative that expressed his thoughts and emotions. It explains how Wagner structured his music and his drama, how he formed a cycle of four operas that spanned from the beginning to the end of the world.

The third part tells of the meanings of the Ring, how Wagner saw the world and the people in it, how he showed their struggles and their choices. It shows how Wagner portrayed the characters in the “world” of the Ring, how he gave them depth and complexity, how he made them human and divine. It also shows how Wagner explored the political implications of the Ring, how he engaged with contemporary issues such as nationalism, revolution, democracy, and capitalism. It explains how Wagner expressed the metaphysical dimensions of the Ring, how he used music to create a sense of depth and transcendence, how he searched for a new religion and a new morality.

The fourth part tells of the responses to the Ring, how people have heard it and seen it, how they have loved it or hated it. It shows how Wagner’s work has been received and interpreted by critics and commentators from its premiere to the present day, how it has generated debates and controversies over its artistic value and its social impact. It also shows how Wagner’s work has influenced subsequent composers and musical genres such as Mahler, Strauss, Schoenberg, film music, and musical theatre. It explains how Wagner’s work has inspired other arts and media such as literature, visual arts, cinema, television, and video games.

The book is well done, well made, well filled. It has many things to say and show about Wagner’s masterpiece. It has many things to learn and enjoy for those who care for it. It is written by experts in various fields who share their knowledge and insight with clarity and passion. It is edited by scholars who have organized it with care and skill. It is illustrated by images and musical samples that enhance its beauty and meaning. It is referenced by notes that provide sources and suggestions for further reading.

It is for everyone who loves or wants to love Wagner’s great work of art. It is for those who are familiar with it or unfamiliar with it. It is a friend for those who seek to understand and appreciate Wagner’s Der Ring des Nibelungen.

Reviews Of Solti's Recording of the Ring Cycle by: AI, Fredrick Nietzsche and Hanslick.

2023-05-17T19:23:00.002+01:00

It is nearly impossible to peruse a newspaper these days without encountering someone expressing fear regarding the rise of AI. Much of this apprehension, a concept that science fiction has been exploring since Issac Asimov's works in 1939, seems to have emerged recently due to advancements in AI language models like CHAT-GPT and its main competitor, Google Bard. Considering this, we pondered what insights this program would offer if we requested a review of Solti's recording of the Ring. You can find the review below. But reviewers are fickle creatures and we thus asked it to write a negative review, which it quickly did. However, our curiosity extended further. What if Wagner's, at first, most ardent admirer, Nietzsche, and most infamous critic, Hanslick were alive in the present day? What opinions would they express regarding Solti's recording? The following results, although their accuracy is uncertain, provide captivating reading.

Title: George Solti's Captivating Interpretation of Wagner's Ring Cycle

Rating: ★★★★★

George Solti's legendary recording of Richard Wagner's Ring Cycle stands as a timeless masterpiece, delivering an unparalleled musical experience that captures the grandeur and emotional depth of this monumental work. Solti's interpretation, recorded with the Vienna Philharmonic and the Vienna State Opera Chorus, showcases his exceptional talent as a conductor and his profound understanding of Wagner's complex score.

One of the most striking aspects of Solti's recording is his meticulous attention to detail. Every nuance and subtlety in Wagner's music is meticulously brought to life, resulting in a rich tapestry of sound that is both awe-inspiring and emotionally compelling. Solti masterfully balances the orchestral sections, allowing each instrument to shine while maintaining a cohesive and dynamic ensemble. The precision and clarity of the recording enhance the listener's appreciation of the complex harmonies and leitmotifs that weave throughout the Ring Cycle.

Solti's interpretation is marked by a deep understanding of Wagner's dramatic intent. He captures the intense emotional journey of the characters, conveying their desires, conflicts, and ultimate fates with a compelling sense of drama. From the sombre depths of "Das Rheingold" to the monumental climax of "Götterdämmerung," Solti guides the listener through the vast emotional spectrum of the Ring Cycle, never failing to evoke a profound emotional response.

The vocal performances in this recording are equally outstanding. Solti assembles a remarkable cast of singers, each fully invested in their respective roles. The dramatic power and vocal prowess of Birgit Nilsson as Brünnhilde are nothing short of breathtaking, while Wolfgang Windgassen's portrayal of Siegfried is filled with youthful vigour and lyrical beauty. The supporting roles are equally well-cast, with standout performances by the likes of Dietrich Fischer-Dieskau, Christa Ludwig, and Hans Hotter, among others.

Furthermore, the engineering and sound quality of this recording are exceptional, allowing the listener to fully immerse themselves in Wagner's sonic world. The balance between the orchestra and the voices is impeccably managed, ensuring that none of the intricate details or vocal nuances are lost. The dynamic range is wide, effortlessly capturing the sweeping climaxes and delicate moments of introspection. The remastered edition of Solti's recording provides even greater clarity and depth, breathing new life into this timeless masterpiece.

In conclusion, George Solti's recording of Wagner's Ring Cycle is an essential addition to any classical music collection. His insightful interpretation, combined with the exceptional performances of the cast and the superb sound quality, make this recording a true gem. Solti's ability to capture the epic scale, emotional depth, and intricate musicality of Wagner's magnum opus is nothing short of extraordinary. This recording continues to be a benchmark against which all subsequent interpretations of the Ring Cycle are measured, and it remains an unparalleled achievement in the realm of classical recordings.

Write a negative review of George Solti's recording of Wagner's Ring Cycle

Title: George Solti's Interpretation of Wagner's Ring Cycle Falls Short of Expectations

Rating: ★★☆☆☆

George Solti's recording of Richard Wagner's Ring Cycle, although highly acclaimed by many, fails to live up to the expectations associated with this monumental work. While Solti's reputation as a conductor is unquestionable, this particular interpretation lacks the depth and emotional resonance necessary to fully capture the essence of Wagner's magnum opus.

One of the major shortcomings of Solti's recording is a lack of subtlety and nuance in his interpretation. Wagner's music is known for its intricate layers and complex harmonies, yet Solti's approach tends to prioritize sheer power and volume over the finer details. As a result, the delicate motifs and subtle shifts in mood and character often get overshadowed by an overwhelming sense of bombast. The lack of restraint in Solti's conducting diminishes the emotional impact and intricacies that are crucial to fully appreciating Wagner's vision.

Furthermore, the vocal performances in this recording are a mixed bag. While some singers deliver commendable renditions, others fall short of expectations. Birgit Nilsson's Brünnhilde, while technically proficient, lacks the depth and emotional range required to fully embody the character. Wolfgang Windgassen's Siegfried, although capable, lacks the charisma and nuance to truly captivate the listener. The supporting cast, while having notable moments, fails to consistently deliver the level of artistry and dramatic intensity required to bring Wagner's characters to life.

Another area of disappointment lies in the engineering and sound quality of the recording. The balance between the orchestra and the voices often feels imbalanced, with the orchestra overpowering the singers in crucial moments. The sound lacks the clarity and precision needed to fully appreciate the intricate details of Wagner's score, leading to a muddled listening experience. Additionally, the overall dynamic range feels compressed, resulting in a lack of dramatic impact during the climactic moments of the Ring Cycle.

In conclusion, George Solti's recording of Wagner's Ring Cycle falls short of expectations. While it benefits from Solti's expertise as a conductor and features notable vocal performances, the overall interpretation lacks the subtlety, emotional depth, and attention to detail necessary to fully do justice to Wagner's epic work. The excessive bombast, inconsistent vocal portrayals, and subpar sound engineering hinder the listener's ability to fully engage with the intricacies and emotional power of the Ring Cycle. There are more nuanced and compelling interpretations available that better capture the true essence of Wagner's monumental masterpiece.

Write a review of Solti's Ring cycle in the style of Fredrick Nietzsche

A Nietzschean-inspired Review of Solti's Ring Cycle

George Solti's interpretation of Wagner's Ring Cycle is a prime example of the intoxicating power of music and its potential to transport the listener to transcendental realms. In this monumental recording, Solti's commanding conducting and the formidable Vienna Philharmonic unleash a torrent of sound that reverberates with primordial force. The overwhelming intensity of this rendition mirrors the Dionysian spirit that Nietzsche so passionately celebrated in Wagner's art.

Solti's conducting style exudes a raw and untamed energy, invoking the elemental forces that permeate Wagner's music. The orchestra becomes a vessel of untamed passion, surging with ecstatic fervor. Solti's mastery lies in his ability to navigate the turbulent currents of Wagner's score, capturing its undulating waves of emotion and unleashing them upon the listener with unrivaled intensity. In this recording, the listener is immersed in a maelstrom of sound, an experience that both overwhelms and liberates the senses.

The vocal performances, while at times overshadowed by the orchestra's overwhelming power, convey a certain pathos and dramatic intensity. Solti assembles a cast of singers who possess the necessary vocal prowess and emotional depth to embody Wagner's larger-than-life characters. Birgit Nilsson's portrayal of Brünnhilde is nothing short of awe-inspiring, her soaring voice cutting through the sonic tempest with indomitable strength. The supporting cast, too, offers commendable performances, each contributing to the overall dramatic tapestry with their own unique artistry.

The recording's sound engineering captures the grandeur and immensity of Wagner's score. The dynamic range is expansive, accommodating the sweeping climaxes as well as the delicate moments of introspection. The orchestral sections are meticulously balanced, allowing the intricate details of Wagner's leitmotifs to shine through amidst the swirling orchestral tumult. It is through this rich sonic tapestry that Solti effectively conveys the metaphysical depth and cosmic significance that Nietzsche found in Wagner's music.

Solti's recording of Wagner's Ring Cycle embodies the Nietzschean ideal of art as an ecstatic and transcendent experience. The overpowering intensity and raw passion unleashed in this interpretation resonate with Nietzsche's celebration of the Dionysian spirit. Through Solti's conducting and the Vienna Philharmonic's virtuosity, the listener is transported to a realm beyond the mundane, where the boundaries of reason and convention dissolve, and the primal forces of existence are unleashed.

In conclusion, George Solti's recording of Wagner's Ring Cycle is a Nietzschean triumph, a testament to the power of music to evoke the sublime and awaken the dormant passions within us. Solti's masterful interpretation, coupled with the exceptional performances of the vocal cast and the immersive sound engineering, create a transcendent and transformative listening experience. This recording stands as a testament to the enduring power and cosmic significance of Wagner's music, an invitation to embrace the Dionysian spirit and embark on a journey of cathartic liberation.

Write a review of Solti's Ring cycle, in the style of Hanslick.

Hanslick-inspired Deriding Review of Solti's Ring Cycle and Wagner's Work

George Solti's recording of Wagner's Ring Cycle serves as a stark reminder of the inherent flaws and excessive tendencies found within Wagner's operatic endeavours. Solti's interpretation, while technically proficient, only magnifies the inherent weaknesses and artistic shortcomings that plague Wagner's compositions.

Wagner's score, with its bloated orchestration and tedious leitmotifs, epitomizes a self-indulgent approach to composition. Solti, unfortunately, succumbs to Wagner's megalomania, conducting the Vienna Philharmonic with an unwavering commitment to bombast and grandiosity. The resulting sonic onslaught is a testament to the superficiality of Wagner's musical ideas, with little regard for the delicate nuances and subtleties that define true artistic depth.

The vocal performances in this recording offer little solace amidst the overwhelming orchestral force. Wagner's vocal writing, characterized by interminable melodic lines and unnecessarily dense orchestral accompaniment, hinders the singers' ability to convey genuine emotion or connect with the listener on a profound level. Despite the best efforts of the cast, their voices are swallowed by the overpowering orchestration, rendering their performances inconsequential and forgettable.

Furthermore, Wagner's librettos are nothing short of interminable. The excessive length and convoluted narratives only serve to exacerbate the inherent weaknesses of his musical compositions. Solti's adherence to Wagner's vision results in a recording that feels bloated and interminable, with moments of true artistic inspiration few and far between.

The sound engineering of this recording, while technically sound, cannot mask the fundamental flaws present in Wagner's work. The orchestra is captured with precision and clarity, but it only amplifies the shortcomings of the composition. The dynamic range, meticulously captured in the recording, exposes the lack of true musical development, with Wagner resorting to bombastic climaxes rather than meaningful thematic growth.

In conclusion, George Solti's recording of Wagner's Ring Cycle, while an accurate representation of Wagner's artistic intentions, serves as a reminder of the composer's inherent weaknesses. Wagner's self-indulgent approach to composition, coupled with his laborious librettos, fails to deliver the emotional depth and musical innovation that define true artistic greatness.

Parsifal Study Day 13 May 2023 Manchester

2023-05-08T23:26:00.009+01:00

Should you be in Manchester, well worth attending

Wagner Society Manchester

PARSIFAL STUDY DAY

13 May 2023

9.30am until 16.30

Anthony Burgess Centre, Manchester, M1 5BY.

The Societ's president,Derek Blyth, will guide us through

this complex work.

Cost £20 for members, £25 for non-members, £5 for students.

For tickets contact

susi.wagnersocietymanchester@gmail.com

New Edition Of The Wagner Journal Published

2023-05-08T23:14:00.002+01:00

The March 2023 issue (vol.17, no.1) of The Wagner Journal has been published and contains the following feature articles:

• Wolfgang Mende on Wagner’s compositional process as revealed in his sketches
• Genevieve Robyn Arkle on Wagner’s use of the turn
• Derek Hughes on new witnesses of Toscanini’s Bayreuth
• Chris Walton on a bizarre legal case involving wire-netting at Tribschen
• Interview with Keith Warner about his new Meistersinger for Vienna

Plus reviews of: the Ring at the Berlin Staatsoper, Die Meistersinger in Vienna and Der fliegende Holländer in Toronto; Parsifal Suite (constructed and conducted by Andrew Gourlay) and Wagner by Arrangement, vol. 3 (arr. Ben Woodward); DVDs of the Ring from the Deutsche Oper (2021), dir. Stefan Herheim, and Bayreuth (1979/80), dir Patrice Chéreau; Laurence Dreyfus’s novel Parsifals Verführung and Charles Ellis: Wagner’s ’Ring’

www.thewagnerjournal.co.uk

Wagner & Desire

2023-05-08T22:58:00.003+01:00

All things partake in the Oneness of Reality and therefore all things are interconnected. The sacred threads that weave through the various art forms reveal this truth. The interconnectivity of the ancient art forms is best depicted in the paintings of the nine muses of Greek mythology, who dance in a circle with joined hands to the music of Apollo’s lyre. The 19th century German composer, Richard Wagner had excelled in the binding of all art forms into a coherent whole. Through his works, he delved to the essence of the human condition, and along the way, presented a synthesis of the arts such as had never been experienced before. In this short essay, we will explore some of the spiritual and philosophical inspirations for Wagner’s operatic works and how the underlying themes of the Will and Desire can not only shed light on our human drama but reveal the correspondence of music with Nature.

BUDDHISM AND SCHOPENHAUER

Often the profoundest insights into the mysteries of existence appear to us in the simplest of guises: a crimson-petalled rose, a fractured prism of light, the rotating symbol (e.g. Tai Chi and the Ouroboros). But intimations of such deep significance also appear to us through the most familiar of sounds. In many cultures, the sounding of bells marks life’s transitions---from celebratory marriage bells to the sombre tolling of funeral bells. However, Buddhist temple bells (called Bonsho), have always carried the analogy of the impermanence of Man. The reverberations begin from an indefinable moment and resonate until dissipating into the silence from which it emerged. This interval comprises the totality of a person’s earthly life; a life which comes into being with a great cry, makes a noise in the world for a brief time, and comes to an end as its energy dims and diminishes toward Death. Such reminders of our transient nature impel us to regard life as valuable and intensely meaningful. It also reinforces the need to view ourselves with humility in the face of the cosmos.

The 19th-century German philosopher, Arthur Schopenhauer was one of the first Europeans to encounter the ancient writings of Buddhism and Hinduism. These teachings informed his worldview and his contributions to philosophy. Although his understanding of these religious systems was not particularly orthodox, Schopenhauer became an instrumental philosophical link between the East and West—a divide much spoken about, but ultimately illusory in its deepest analysis. Schopenhauer’s incorporation of Buddhist and Hindu ideas heavily influenced the trajectory of Western philosophy as well as the life and work of German composer, Richard Wagner.

Many Buddhistic themes regarding reincarnation and karmic energies course through Wagner’s operas, particularly in Der Ring des Nibelungen (referred to here simply as The Ring Cycle) and Parsifal. In fact, many scholars, including a practising Buddhist monk, have hypothesized quite compellingly, that Parsifal is in fact the final opera of the Ring Cycle.1 It is argued that several of the major characters from the Ring Cycle reappear in reincarnated form as the main actors in the Parsifal opera, having to counterbalance, through specific meritorious (kusala) karmic deeds, the evil or non-meritorious (akusala) karma they brought into being at the beginning of the drama. These Buddhist notions were not accidentally stumbled upon. Wagner became familiar with Buddhist writings through the works of Schopenhauer which he industriously read and reread throughout his life.

It should be noted that Wagner’s intentions for the Ring Cycle (including Parsifal) was the creation of what he termed a “Bühnenweihfestspiel” or “stage festival play”. Combining the sacred symbolism and ritual of ancient Greek stage tragedy, with the musicality of Beethoven and poetic genius of Shakespeare, and further informed by Buddhist-inspired metaphysics and philosophy, he aimed at a “total synthesis of the arts” (Gesamtkunstwerk). In his operatic works music, theatre, aesthetics, philosophy, and mysticism hold hands and share the stage in portraying the human drama.

Continue Reading At: The Autumn Salon

Watch Now Complete: RHINEGOLD Wagner – Birmingham Opera Company

2023-01-31T23:16:00.001+00:00

Birmingham Opera Company, known for staging opera in empty warehouses and disused factories, here performs RhineGold in the relatively conventional surroundings of Birmingham Symphony Hall. The production is from August 2021 with the pandemic still dictating so much of our lives. This did not stop the company gathering an orchestra of 87 players from the City of Birmingham Symphony Orchestra and a stellar international cast performing alongside local volunteers. Conspicuous in his absence is the company’s founding director, Graham Vick, who passed away just as rehearsals were beginning. True to Vick’s spirit, his long-term collaborator Richard Willacy brings an operatic masterpiece close to the community that the company serves, with no fear of social commentary. This is an urban RhineGold; Rhinemaidens are selfie-taking party girls, Alberich is cycle courier, and Wotan is first seen giving a press conference for FNN: Fake News Network. This RhineGold, complete with the new English translation by Jeremy Sams, can be seen as a step closer to Wagner’s vision of a total work of art acting as a lever of change in society.

Avaible Till March, 2033

CAST The Gods: Wotan Eric Greene Loge Brenden Gunnell Fricka Chrystal E Williams Freia Francesca Chiejina Froh Amar Muchhala Donner Byron Jackson Erda Gweneth-Ann Rand The Nibelungs: Alberich Ross Ramgobin Mime John-Colyn Gyeantey The Giants: Fasolt Keel Watson Fafner Andrew Slater The Rhine Girls: Woglinde Zoe Drummond Wellgunde Felicity Buckland Flosshilde Georgia Mae Bishop Orchestra City of Birmingham Symphony Orchestra Music Richard Wagner Text Richard Wagner Conductor Alpesh Chauhan Director Richard Willacy Translation Jeremy Sams Sets Stuart Nunn Lighting Matthew Richardson

Watch Now: PARSIFAL: Hungarian State Opera

2022-04-24T19:51:00.004+01:00

Streamed LIVE on OperaVision on 15 April 2022 at 19:00 CET and available until 15 October 2022:

CAST

Amfortas: Michele Kalmandy

Titurel: István Rácz

Gurnemanz: András Palerdi

Parsifal: István Kovácsházi

Klingsor: Károly Szemerédy

Kundry: Andrea Szántó

Pages: Eszter Zavaros, Anna Csenge Fürjes, Tivadar Kiss, Barna Bartos

Flower maidens: Lilla Horti, Ildikó Megyimórecz, Lusine Sahakyan, Beatrix Fodor, Boglárka Brindás (student), Melinda Heiter, Bea Egyed, Laura Fehér, Virág Rovó P

arsifal’s mother / Voice from above: Judit Németh

Grail knights: József Mukk, András Káldi Kiss

Young Parsifal: Benjámin Taba

Child Parsifal: Milos Katonka

Chorus: Hungarian State Chorus

Orchestra: Hungarian State Opera

Music: Richard Wagner

Conductor: Balázs Kocsár

Director: András Almási-Tóth

Set Designer: Sebastian Hannak

Costume Designer: Lili Izsák

Lighting Designer: Tamás Pillinger

Choreographer: Dóra Barta

Chorus Master: Gábor Csiki

Dramaturg: Enikő Perczel

OperaVision is a Freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

WEBSITE: https://operavision.eu/

March Issue Of The Wagner Journal Available Now

2022-04-24T19:33:00.000+01:00

And a rather good one it is. Highly recommended - perhaps essential. It is worth buying for Justin Mueller's item on Hans-Jürgen Syberberg’s classic 1982 film Parsifal - alone. Also includes:

Derek Hughes challenges the theory of a conspiracy of silence surrounding anti-Semitism in the Wagner circle

• Justin Mueller on Hans-Jürgen Syberberg’s classic 1982 film Parsifal
• Chris Walton on the other Minna Wagner, an actress frequently confused with Wagner’s wife
• Roger Allen’s new translation of Wagner’s important essay ‘On the Destiny of Opera’
• Tribute to Norman Bailey by Niall Hoskin
• Christopher Wintle on Wotan’s offspring

plus reviews of: Stefan Herheim‘s Ring from Berlin, Richard Jones‘s Valkyrie from ENO, Tristan und Isolde in Mannheim, Die Meistersinger at the Met, the Wesendonck Lieder in London and The View from the Villa in Musselburgh; CDs featuring Lise Davidsen, Elīna Garanča and Anna Netrebko; a new study by Anno Mungen of Wieland Wagner‘s wartime productions, David Vernon‘s Disturbing the Universe: Wagner‘s Musikdrama and a revised edition of Paul Dawson-Bowling‘s Wagner: the Complete Experience and its Meaning to Us

www.thewagnerjournal.co.uk

Watch Now: The Complete Herheim' Directed Ring From Deutsche Oper Berlin

2022-04-24T19:16:00.004+01:00

ARD 1 Has made the entire 2021 Deutsche Oper Berlin Ring Cycle available online, free. This will be until 13, July 2022. Act one of Walkure below as a taster. To watch the entire work, follow this link. For full cast and production details follow this link.

Watch Now: Die Walkure. Longborough Festival Opera 2021

2022-01-17T05:16:00.002+00:00

Only available until 26, February 2022. Watch it, while you can

Following Longborough Festival Opera’s critically acclaimed Das Rheingold, Wagner’s epic tale of Der Ring des Nibelungen continues with Die Walküre, conducted by Longborough’s Music Director Anthony Negus, semi-staged by Amy Lane. A predominantly British cast.

Siegmund: Peter Wedd

Sieglinde: Sarah Marie Kramer

Wotan: Paul Carey Jones

Fricka: Madeleine Shaw

Brünnhilde: Lee Bisset

Hunding: Brindley Sherratt

Gerhilde: Meeta Raval

Ortlinde: Cara McHardy

Waltraute: Flora McIntosh

Schwertleite: Rhonda Browne

Helmwige: Katie Lowe

Siegrune: Carolyn Dobbin

Grimgerde: Katie Stevenson

Rossweisse: Emma Lewis

Orchestra: Longborough Festival Orchestra

Music: Richard Wagner Conductor: Anthony Negus Director: Amy Lane Lighting Designer: Charlie Morgan Jones Choreographer: Lorena Randi Video Producer: Stagecast Assistant Conductor: Peter Selwyn Répétiteur: Kelvin Lim Language Coach: Dominik Dengler English subtitles: Sophie Rashbrook Head of casting: Malcolm Rivers in partnership with The Mastersingers Artistic Advisor: Isabel Murphy

Reduced orchestration: Francis Griffin

Tristan und Isolde: 11, 000 Years Old And Counting

2021-05-31T15:23:00.004+01:00

The Ain Sakhri Lovers

It takes little for us to shoehorn another story to become one involving Wagner's work. It's also not that difficult, given how much Wagner used mythic archetypes in his work. But as we emerge from lockdown, hopefully, (as to is this site) and places we love reopen, we are taken again to, one of many, a fascinating artefact found in the British Museum.

Tarot card archetype, "The Lovers"

More than 11,000 years before Wagner, or indeed perhaps anyone else, externalised the archetype of the lovers - so prominent in Tristan und Isolde and used therein so effectively - someone found a large pebble in the waters of a river in Wadi Khareitoun, Judea, near Bethlehem. Within its shape that early artist must have seen something that reverberated with him or her, just as Wagner must have done as he read the old grail romance of Tristan und Isolde as told in Gottfried von Strassburg's poem. Unlike Wagner, we know nothing of this person, except that they worked on the pebble, using a stone chisel or antler bone, till it became, what we now know as The Ain Sakhri lovers - the oldest known sculpture of a couple making love.

The Ain Sakhri lovers

This fascinating artefact is easy to miss among so much at the museum, but we really hope, the next time you are there if you get the chance, you take the time to track it down and spend some time with it. Apart from anything else, it is impossible for us to not associate it with act 2 of Tristan.

3 Months Of Online Wagner Events With The Wagner Society: April to July 2021

2021-03-28T16:32:00.000+01:00

In these very strange times, various organisations have turned to the internet to continue their work. No less so, than the Wagner Society Of London. While it remains impossible to meet up, they have lead the way here, with a constant stream of online, Zoom events with famous singers and conductors together with lectures. This continues at least until July. All highly recommended. If you wish to join any of these events or lectures a nominal charge of £5, for members or £10 for none members is made.

For more information visit the Societies webpage here

April

• 2nd April: “Parsifalmania for Good Friday”, with Jeffery McMillan

• 7th April: "Two Rings Revisited: Wagner and J.R.R. Tolkien" with Dr Jamie

McGregor (prt 1/ 4 of Wagner and Literature)

• 9th April: Lotte Lehmann (as a Wagner singer), with Gary Hickling

• 10th April: Sir Mark Elder CH CBE in conversation with Christopher Cook

• 14th April: "Hört ich oft von Engeln sagen": Wagner Lieder on record with Professor

Laura Tunbridge

• 16th April: Lotte Lehmann (as a Wagner teacher), with Gary Hickling

• 21st April: “Oed’ und leed das Meer”: Wagner and T.S. Elliot with Dr Jamie

McGregor (prt 2/ 4)

• 28th April: Wagner in Victorian England, with Eduardo Bennaroch

May

• 5th May: “The Sea, music and death”: Wagner and Virginia Woolf with Dr Jamie

McGregor (prt 3/ 4)

• 7th May: Frida Leider, with Eva Rieger

• 9th May: "Greatest Singers You Never Heard of (prt 1/3) with Andrew Whitfield

• 12th May: “Mahler’s Hofoper in Vienna” with Roger Neill

• 14th May: From Goodall to Longborough, with Anthony Negus

• 16th May: Sir Richard Armstrong CBE in conversation with Andrew Whitfield

• 19th May: Dr Mark Berry, topic tbc

• 21st May: Wagner in Buenos Aires, with Eduardo Bennaroch

• 26th May: “Nothung up my sleeve”: Wagner and James Joyce with Dr Jamie

McGregor McGregor (prt 4/ 4)

• 28th May: Wagner in English and the Legacy of the ENO, with Andrew Whitfield and

special guests: Anne Evans and Lorna Haywood

June

• 2nd June: Hans Richter, with Christopher Fifield (part 1)

• 4th June: Birgitta Svenden in conversation with Stephen Brown

• 7th June: "Greatest Singers You Never Heard of (prt 2/3) with Andrew Whitfield

• 9th June: Hans Richter, with Christopher Fifield (part 2)

• 11th June: “British Wagner Conductors from the mid-20th Century”, with Professor

Emeritus Raymond Holden AM

• 14th June: “Wagner’s Choruses”, with Donald Palumbo and Andrew Whitfield in

conversation

• 16th June: Wagner's Italianism, Bellini's Norma, and melody's Sinnlichkeit, with Dr

David Trippett

• 21st June: "Greatest Singers You Never Heard of (prt 3/3) with Andrew Whitfield

• 23rd June: Professor Emma Sutton, topic tbc

• 25th June: James Rutherford in conversation with Christopher Cook

• 30th June: Wagner in the “Wrong” Language, with Paul Thomason

July

• 7th July: Richard Jones in conversation with Christopher Cook

• 14th July: The Met Database, with Jeffery McMillan

• 21st July: Berlin’s mid-20th Century Wagnerian Music Directors, with Professor

Emeritus Raymond Holden AM

For more information visit the Societies webpage here

You Have Four Days To Watch Göteborgsoperan's Siegfried Premier, Free Online

2021-03-27T22:25:00.002+00:00

We have been lucky enough to catch Daniel Brenna's wonderful Siegfried, live, a few years ago and cannot recommend anything he appears in enough - and this production has much else to recommend it. Provided free by Göteborgsoperan

The film was shot at the Gothenburg Opera in December 2020. The role as the Wanderer (Wotan) is played in act one and two by Fredrik Zetterström and in act three by Anders Lorentzson.

Act 3 will be available at midnight BST 28/03/2021 by clicking here.

Post Lockdown, ENO To Begin New Ring Cycle

2021-03-14T13:46:00.003+00:00

We, shall be looking at this closely, especially if it is as good as ENO seems to think

Directed by Richard Jones and conducted by Martyn Brabbins, The Valkyrie will form the first part of a complete Ring Cycle over the next five years.

English National Opera (ENO) is to bring Wagner’s Ring Cycle to the London Coliseum, starting with The Valkyrie this Autumn, subject to any further lockdown restrictions. Directed by the award-winning Richard Jones, and marking the first time in more than 15 years since ENO last staged The Ring, all four parts of The Ring Cycle will be staged at the London Coliseum over five years. Rhinegold will premiere in 2022/23 followed by a reprise of The Valkyrie, and new productions of Siegfried and Twilight of the Gods in 2024 and 2025 consecutively. The Metropolitan Opera is co-producing.

The Valkyrie will be an unparalleled theatrical experience, which will plunge the audience into a thunderous storm of human emotion. Jones – who has won 8 Olivier Awards and has had a long and enduring relationship with the ENO – will direct an incredible cast who will rehearse in Covid-secure bubbles. Martyn Brabbins, ENO’s Music Director, will conduct the award-winning ENO Orchestra. The production will be designed by Stewart Laing; with Adam Silverman as Lighting Designer, Sarah Fahie as Movement Director and Akhila Krishnan as Video Designer. ENO have commissioned a new English language translation from John Deathridge.

The Ring feels extraordinarily of the twenty-first century yet mythological at the same time. How can love and empathy exist in a world of vaulting egos vying for infinite power?

Annilese Miskimmon, Artistic Director, ENO said: “It is thrilling to announce this new ENO Ring Cycle, starting with Valkyrie this Autumn. Richard Jones’s theatrical vision is designed to be emotionally and narratively gripping both for long-time Wagner-lovers and for those seeing this amazing opera for the first time. This epic story of a rebellious warrior maiden who defies the gods in defense of humanity combines myth with modernity alongside some of the most powerful and recognisable operatic music ever written. An unmissable experience for opera lovers old and new, we are delighted to welcome them all to the London Coliseum to join us at the beginning of this Wagner journey through the complete Ring over the next 5 years.”

Richard Jones, Director, said: “The Ring feels extraordinarily of the twenty-first century yet mythological at the same time. How can love and empathy exist in a world of vaulting egos vying for infinite power? Produced by two of the worlds’ great opera companies I can’t imagine a more pertinent operatic response to the times we find ourselves in.”

Stuart Murphy, CEO, English National Opera said: “There is no greater mark of ENO’s ambition than to stage Wagner’s Ring Cycle as we return to the London Coliseum stage following the pandemic. It is fantastic to be doing so with the brilliant Richard Jones. We can’t wait to welcome those new to Wagner into ENO’s auditorium and take them on an unforgettable and thrilling journey.”

Martyn Brabbins, Music Director, ENO said: “Innovation and vibrant theatricality will be front and centre of the new ENO Ring Cycle. With meticulous musical preparation and a cast of the very best singing actors we will bring Wagner’s extraordinary music vividly and beautifully to life. Our aim is to create as powerful, as immediate and as moving an experience as Wagner imagined.”

Watch Now, Full Documentary: Pierre Boulez - Emotion and Analysis

2021-02-14T17:01:00.001+00:00

Pierre Boulez and the Berliner Philharmoniker rehearsing and performing Béla Bartók's Concerto for Orchestra

The conductor Pierre Boulez (1925 - 2016) best described his relationship with the music of composer Béla Bartók (1981-1945) as a “sympathy between musicians”. The Frenchman has been involved with the music of the Hungarian composer for over five decades. Bartók and Boulez belong to the 20th century’s most influential artists. A key work of Bartók is the Concerto for Orchestra, which was premiered in Boston in 1944. The Film „Emotion and Analysis“ follows Pierre Boulez in his rehearsals of this composition with the Berlin Philharmonic.

The documentary provides a fascinating look into the methods of the great master of modern music. The rehearsals take place in the spectacular setting of the monastery Mosteiro dos Jeronimos in Lisbon which was also the location of the annual European Concert of the Berlin Philharmonic for the year 2003. Pierre Boulez explains in a series of interviews the historical origins of Bartók’s late work, his own personal style of interpretation and his role as conductor as well as his love of composing.

A Film by Paul Smaczny and Günter Atteln

Watch Now, Full Documentary: The Colón Ring: Wagner in Buenos Aires

2021-02-14T16:31:00.002+00:00

It was an ambitious project: staging Richard Wagner's powerful music drama, the Ring Cycle, in a single day. To honor Richard Wagner's 200th birthday in 2012, Latin America's famous opera house, the Teatro Colón in Buenos Aires, hosted this one-of-a-kind production with abridged versions of the individual operas cut down to seven hours.

The documentary film "The Colón Ring - Wagner in Buenos Aires," directed by Hans Christoph von Bock, follows each step of this challenging project. Those steps include considerable behind-the-scenes drama - itself worthy of a Wagnerian opera - that accompanied the production. Original director Katharina Wagner quit, as well as the original conductor and some of the cast, and it looked as if the production was doomed. But the film shows how the new director, Valentina Carrasco, got things back on track, allowing Wagner's vision of "The Ring of the Nibelung" to emerge as a Gesamtkunstwerk and an all-encompassing live theatre experience.

Bayreuth To Get, At Last, Its First Female Conductor.

2021-02-14T16:14:00.007+00:00

A new production of the The Flying Dutchman, to premiere during the 2021 season, will be directed Russian director Dmitri Tcherniakov and conducted by Ukrainian conductor Oksana Lyniv. The 42-year-old conductor will be the first woman to take the podium since the festival was founded in 1876. The role of Senta will be performed by the Lithuanian soprano Asmik Grigorian. The festival's managing director, Heinz-Dieter Sense, is firmly convinced the show will go on next year, even if the fight against the coronavirus continues.

Although Lyniv and Tcherniakov are debutants in Bayreuth, they are by no means strangers to the classical music scene. In their home countries, the Ukraine and Russia, as well as abroad, the conductor and opera director have earned numerous accolades. Nevertheless, both describe the invitation to Bayreuthas a career high point. Tcherniakov and Lyniv have previously worked together on productions at the Bavarian State Opera in Munich.

Edit: Orginal photo, featured Lola Kirke from her role in "Mozart In The Jungle". We can only blame a webmaster clearly missing said series. Apologies.

Oksana Lyniv: 'Wagner would be proud'

Lyniv was born into a family of musicians in Brody in western Ukraine. Her teachers at the Music Academy in Lviv advised her against persuing a career in conducting, saying it was not suitable for women. Instead, they recommended she learn to play the flute. Yet Lyniv remained set on her dream of conducting and eventually prevailed. She won third prize at the conducting competition in Bamberg, Germany in 2004 and thus had the chance to continue her studies in Dresden.

From 2008 to 2013 she was the associate chief conductor of the Odessa Opera House, where she made a name for herself conducting the orchestra through daring premieres, including an opera by Ukrainian baroque composer Dmitry Bortiansky. The young conductor continued her career in Western Europe as assistant to Kirill Petrenko at the Bavarian State Opera in Munich. In 2017, she became the first woman to take up the post of General Music Director in Graz, Austria

Bayreuth 2021 To Go Ahead And How To Get Tickets

2021-02-14T15:58:00.006+00:00

At least we hope it will. Will include sections outdoors this year. You will have a very short window to buy, we suspect very limited tickets, online on June 6th.

In addition to the new production of “Der fliegende Holländer” (7 performances), there will be revivals of the productions of “Die Meistersinger von Nürnberg” (6 performances) and “Tannhäuser” (6 performances). A special feature of this year’s festival will be two concerts under the musical direction of Andris Nelsons and one concert under the musical direction of Christian Thielemann. In special children's version of “Tristan and Isolde,” Stephen Gould will take on Tristan, https://www.bayreuther-festspiele.de/programm/kinderoper/. The playing order, as well as full cast information, can be found at https://www.bayreuther-festspiele.de/programm/auffuehrungen/.

With the “Ring 20.21”, a multimedia project of the Bayreuth Festival, realized by BF Medien, a composition commissioned and sponsored by the Ernst von Siemens Music Foundation, the Festival is preparing a special event: Three performances of “The Valkyrie” in the Festspielhaus will be framed by commissioned works in various artistic genres, which will mirror, comment on, continue or experience in a new way all parts of the “Ring of the Nibelung”.

A musical theatre for “Das Rheingold-Immer noch Loge”, which reveals a few surprises, opens in the Festspielpark with a composition by Gordon Kampe based on the libretto by Paulus Hochgatterer, staged and realized with puppets by Nikolaus Habjan. None other than action artist Hermann Nitsch will create “Die Walküre”, and in a multimedia work (Jay Scheib) the audience can put themselves in the shoes of “Siegfried”. An installation by Japanese artist Chiharu Shiota will conclude the cycle in the Festival Park with a work of art for “Götterdämmerung” that is as delicate as it is overwhelming and visionary.

There will be no advance ticket sales for the 2021 season for all customers this year, which would normally have taken place in the fall. The order form will be sent in the coming weeks to the affected customers of the 2020 season who have waived their right to a refund. On Sunday, June 06, 2021, there will be an online instant purchase on our website. This ticket sale will then be available to all registered customers so that you will still have the chance to purchase tickets for the Festival in the 2021 season.

Opera Meets Film: Yuki Mishima’s ‘Patriotism’ & Wagner’s ‘Tristan und Isolde

2021-02-14T15:15:00.006+00:00

We really can recommend all of this series from David Salazar. We have included the full short film below.

Yukio Mishima’s “Patriotism” is arguably one of the finest cinematic adaptations of Wagner’s “Tristan und Isolde.”

The 28-minute short silent film tells the story of Lieutenant Takeyama, a member of the palace, and his wife Reiko as they commit seppuku when Takeyama is ordered to kill his fellow mutineers. The film, set in the Noh theatre, is underscored throughout by Leopold Stokowski’s Symphonic Synthesis of “Tristan und Isolde.”
After the opening title cards, we see Reiko in a domestic setting, the music from the first Act confrontation between Tristan und Isolde at the forefront. With the sustained brass notes, Mishima uses the double exposure effect to show us Reiko remember sensual moments with Takeyama. While on the surface Reiko’s seemingly relaxed disposition might seem like a fierce contrast with the tense meeting between Wagner’s titular heroes, the sexually charged imagery also emphasizes and reminds the viewer of the sexual tension that pervades this opening scene in Wagner’s music.

憂国 - Yûkoku - Patriotism - Rite of Love & Death (1966) from Yukio Mishima on Vimeo.

With the sexual themes of the film already established, the music shifts to the horn calls that kick off the second act. Here Reiko stands up out of her fantasies, finding Takeyama arriving. They sit together for a moment and vow to commit seppuku together. The music playing here (“O sink hernieder, Nacht der Liebe) has the corresponding text:

“Descend,
O Night of love,
grant oblivion
that I may live;
take me up
into your bosom,
release me from
the world!”

The climax of this passage is met by title cards explaining the two succumbing and revealing their deepest passions before showing us a wide shot of their naked bodies spread across the stage. Mishima continues the exploration of love and violence by cutting to Takeyama’s sheathed sword.

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