Richard Wagner

New York Arts in Italy

The Barenboim/Cassiers Production of Die Walküre at La Scala

It is a curiosity of our times that I write this review of La Scala’s sixth and last performance of their new production of Die Walküre several weeks after audiences around the world have seen high definition video projections of earlier performances of the same production. A friend of mine residing in the Midwest has already seen it twice, but questions remain: seeing a broadcast through the eyes of video cameras is not the same as sitting in the house, with the interventions of the television director and the videographers standing between the audience and the event at La Scala. I haven't seen a La Scala broadcast, and I have no idea of their particular style, which is hopefully more straightforward than the extremely mannered — no, gimmicky — Met broadcasts.
Music

Jean-Efflam Bavouzet Piano Recital: Beethoven, Liszt, Wagner and Debussy

When speaking of modern music, it may be the complexity of rhythm or harmony of the piece in question, a lack of memorable melodies or it may be a simplicity in the rules implicitly underlying the piece, which only makes the freeness of the music seem complex to the listener's higher faculties when they try to analyze it. Just as a thing can be understood intuitively or felt strongly to be so which the thinking, rational part of the mind finds impossible to prove, or can only justify after much difficulty. Some point to Debussy's L'après midi d'un faune as the first usher of 20th Century music.

At the Bayreuth Festival

Farewell to Tankred Dorst’s Bayreuth Ring

As much as I might enjoy the paradox in seeking out real situations that recall a work which is for many the ultimate in escapism, I admired Tankred Dorst's efforts to bring Wagner's mythology into our own world. Dorst recognizes that mythology and the divine are present everywhere, largely because of the consistency of human behavior.
At the Bayreuth Festival

Katharina Wagner’s Die Meistersinger, now in its Fourth Year at Bayreuth

I won't even say that I wish that, in beginning with Katharina Wagner's production of Die Meistersinger, I was starting on a cheerful note. Nothing of the kind. Katharina has studiously avoided her great grandfather's romanticized Nürnberg, where great artistic, literary, and musical achievement lurked around every corner, where the citizens dressed colorfully, where the men engaged in witty exchanges, while the girls joyfully gave themselves over the dancing, if not to their young men, at every opportunity. She has, rather, chosen to focus on the repressive nature of this conservative society, as embodied in the guild system, the obsessive power of routine in daily life, its neuroses, and, yes, its nightmares. Having a certain penchant for black humor and oddity, I entered with pleasure into my five-hour visit to this frightening and pitiable world, and I laughed, quite a bit, which, I should hope, is the desired result of any Meistersinger production. If my laughter was a trifle sour at times, it's not entirely alien from the sarcastic wit of Wagner's libretto. Hence, I am pleased to say that Katharina Wagner won her war, buoyed up by a splendid vocal, orchestral, and comedic performance, which had its own vigorous life, no matter how strange the goings-on on stage. And, if one is open-minded enough not to resist these, one can expect to gain a fair bit of insight into human nature, history, and Richard Wagner's comic masterpiece.
At the Bayreuth Festival

A Note from Bayreuth

I had originally planned this commentary simply to let you, our readers, know about the changes in our usual coverage for the remainder of the summer: Larry Wallach, Seth Lachterman, and Keith Kibler will bravely continue their coverage of summer festivals in the Berkshires and Hudson Valley, while I visit Bayreuth, to review the entire 2010 season: Tankred Dorst's production of the Ring, along with the controversial productions of Parsifal (Stefan Herheim, 2008), Die Meistersinger (Katharina Wagner, 2007), and Lohengrin (Hans Neuenfels, 2010). I left my rat-catching gear at home, not wishing to incur overweight charges and thinking it might be cheaper simply to purchase the necessaries here, but all the ratting supply stores in Bayreuth are sold out of equipment, and I realize that I simply have to remain unrattled, while the rodents run free.

A London Summer with Huntley Dent

Simon Rattle Conducts the Orchestra of the Age of Enlightenment in the Love Scene from Roméo et Juliette and Wagner’s Tristan, Act II

Point taken. Whenever period orchestras venture far beyond the Baroque, they have something to prove. But at last night’s concert of Wagner and Berlioz by the esteemed Orchestra of the Age of Enlightenment, some of the proof was self-evident. Banished completely are the intonation problems that plagued such ensembles in the past; one felt secure in the technical abilities of every section; the wind soloists played as expressively as anyone could wish. London is a center for period performance, which has become beloved. Sir Simon Rattle has conducted Act II of Tristan, in concert with the forces of Berlin and Vienna, but it’s good to be flexible, and since he enjoys a long-standing rapport with the OAE, they were a comfortable fit.
New York Arts

Achim Freyer’s Rocky Horror Ring takes over Los Angeles!

Dressing up in a monkey suit is a time-honored profession in Hollywood. Many is the young actor or layabout who has earned a few dollars by dressing up as a gorilla — or Batman or Chewbacca — and going out into the streets with pamphlets to spread the good news about some new deli or used car lot or strip show. For a while, gorilla suits were popular in the studios as well. (That’s a whole genre that’s almost entirely forgotten today.) I reflected on this, as, on the eve of Das Rheingold, I drove along Sunset Boulevard, observing the crowds of tourists in front of Grauman’s Chinese Theater, along with a group of people dressed up as comic book heroes who were available to pose with the visitors. I wondered if any of them thought about the impoverishment of the imagination that these comic book figures have brought to the movies. Humphrey Bogart, Barbara Stanwyck, Walter Huston, and Bette Davis all created characters in their own way, even if they remained recognizable as themselves in their parts. We know what to expect from Batman and Darth Vader simply by their costume, their design, or merely the outline of their shadow on a fictitious pavement. Characterization and acting are superfluous, even though some of these characters have human vehicles, who are dutifully provided with origins, relationships, and dilemmas, by screenwriters who know that they can only sink so low.
New York Arts in Paris

Das Rheingold initiates the Opéra national de Paris’ Ring Cycle at the Bastille

Although Wagner, never able to give up his bitterness over the failure of Tannhaüser, may have taken nothing but bitter memories of Paris to his grave, his later music, including the Ring, enjoyed a devoted and extensive following in France. At last year’s Bard Festival André Dombrowsky explored the popularization of his music through simplified piano arrangements for domestic use, and Larry Bensky discussed Wagner’s role in Proust’s life and imagination. The French can look back to distinguished tradition in Wagner production, and today Wagner is as alive in Toulouse and Lyon as it is in Paris. Nonetheless, productions of the Ring have been rather sparse at the Paris Opera: the first, sung in French translation and conducted by André Messager, did not occur until 1911 (Rheingold 1909). The second, this time in German and conducted by one of the most authoritative German Wagner conductors, Hans Knappertsbusch, came forty-four years later, in 1955! There was Peter Stein production of Das Rheingold in 1976 under Solti, which never developed into a full Ring Cycle. The Ring production initiated by this Rheingold is a historical first, as the first production of the work for the Opéra Bastille, which opened in 1989, and the first complete Ring by the Paris Opera since 1957. With a German production team and a Swiss conductor, Philippe Jordan, 35, who is now concluding his first season as Music Director, the Paris Opera continues its post-war tradition of gathering its Wagnerian talent east of the Rhine. (It is worth noting at this point that Pierre Boulez, one of the great living Wagner conductors, has never conducted the Ring in his native France.)
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