Tristan und Isolde
Katharina Wagner (stage director)
Eva-Maria Westbroek (Isolde)
Steven Gould (Tristan)
Christian Thielemann (conductor)
Jonathan Meese (stage director)
Andris Nelsons (conductor)
Die Meistersinger von Nürnberg
Barrie Kosky (stage director)
Philippe Jordan (conductor)
Michael Volle (Hans Sachs)
Johannes Martin Kränzle (Beckmesser)
Klaus Florian Vogt (Stolzing)
Krassimira Stoyanova (Eva)
Alvis Hermanis (stage director)
Christian Thielemann (conductor)
Anna Netrebko (Elsa)
Tobias Kratzer (stage director)
Der Ring des Nibelungen
Christian Thielemann (conductor - probably)
04 July 2014
The Wagner Journal: July 2014 issue
- 'Spinning the Yarn: Intertextuality in Wagner's Use and Reuse of his Songs in his Operas' by Malcolm Miller
- 'Richard Wagner and the "Zurich Writings" 1849–51: From Revolution to Ring' by Hilda Meldrum Brown
- ‘Wagner's Acquittal', in which Joachim Köhler retracts his claim that Wagner was a forerunner of the Holocaust
- ‘Reckoning up the Ring: A Mathematician's Diary of Bayreuth 1876' by Patrick Carnegy, discussing the journal kept by Alfred Pringsheim, father-in-law of Thomas Mann, on his 1876 visit to Bayreuth
- Joseph Horowitz on Artur Bodanzky and the golden age of Wagner at the Met
- Tannhäuser and Parsifal in Berlin
- Der fliegende Holländer in Copenhagen
- Das Liebesverbot in Leipzig
- Guy Cassiers' Milan Ring and the Met Parsifal with Jonas Kaufmann on DVD
- new books on Wagner by David Trippett, Eva Rieger, Na'ama Sheffi and Joachim Köhler
The Wagner Journal is a periodical that seeks to examine Wagner and his works from a variety of perspectives – musicological, historical, literary, philosophical and political – and to illuminate the unique appeal of this endlessly fascinating composer. The journal aims to bring the questions surrounding the theory and practice of staging and performing Wagner to a wider audience, in that way furthering our understanding of his operas as theatre.
In addition to feature articles, reviews of live performances, books, CDs and DVDs, The Wagner Journal periodically offers new translations of Wagner's prose works, many of which are available only in William Ashton Ellis's notoriously idiosyncratic renderings.
The Wagner Journal appears three times a year (March, July and November) and is published both in print form and online. Individual articles are also available for downloading. The journal is published and distributed independently.
For a free introductory (electronic) copy, e-mail email@example.com
18 June 2014
A bust of Richard Wagner in the foyer of Grand Hotel Et Des Palmes (aka Hôtel des Palmes), Palermo, Sicily. Richard Wagner and his family arrives at the hotel on 5 November 1881. Here he orchestrated Parsifal Act 3.
Read more on Wagneropera.net: Wagner in Sicily
Photo: Per-Erik Skramstad / Wagneropera.net
16 June 2014
Richard Wagner and his family arrived at Hôtel des Palmes (now: Grand Hotel Et Des Palmes) in Palermo on 5 November 1881. Here he orchestrated Parsifal Act 3.
Read more on Wagneropera.net: Richard Wagner in Sicily
Photo: Per-Erik Skramstad / Wagneropera.net
30 May 2014
15 April 2014
Longborough Festival Opera's 2013 Ring Cycle has been shortlisted in the Opera and Music Theatre category of the RPS (Royal Philharmonic Society) Music Awards. The RPS Music Awards presented in association with BBC Radio 3, are the highest recognition for live classical music and musical excellence in the UK. Awards, in thirteen categories, are decided by independent panels consisting of some of the music industry’s most distinguished practitioners. The awards honour musicians, composers, writers, broadcasters and inspirational arts organisations.
This year’s RPS Music Awards celebrate outstanding achievement in 2013. Awards in 13 categories are chosen by eminent independent juries from the music profession and are unique in the breadth of musical achievement they span, from performers, composers and inspirational arts organisation to learning, participation and engagement. This year’s awards are for achievement in the UK during 2013. Winners will be announced at the RPS Music Awards ceremony on Tuesday 13 May, with a special RPS Music Awards programme broadcast on the BBC Radio 3 on Sunday 18 May at 10 pm.
Longborough’s 2013 Ring Cycle
Conductor: Anthony Negus
Director: Alan Privett
Designer: Kjell Torriset
Lighting Designer: Ben Ormerod
Longborough Festival Opera is the first privately owned opera house to have staged a full-length production of Wagner’s Ring Cycle. A new production of Tristan und Isolde in 2015 will be followed by Tannhaüser, Lohengrin, Parsifal and Die Meistersinger vonm Nürnberg in future years. Since 1998, alongside core repertoire, Longborough Festival Opera has steadily built its commitment to the works of Richard Wagner, starting with the CBTO Vick/Dove arrangement of Der Ring des Nibelungen.
Longborough Festival Opera
01 March 2014
- 'Transformation at Tribschen: How a French Literary Trio Became a Wagnerian Musical Trio' by Heath Lees, describing the visits of Judith Gautier and friends to the Wagners in 1869/70
- 'Tracking Träume: The Sources and Sounds of Wagner's Wesendonck Lied' by Peter Bloom on the interlocking of the Wesendonck Lieder and Tristan und Isolde
- 'Wagner Tenors and the Quest for the "Ideal" ' by David Breckbill
- 'Strange and Forbidden Fruits: A report on the conference at Leeds University' by Tash Siddiqui
Plus reviews of:
- Parsifal at Covent Garden and the Lyric Opera, Chicago, the Ring in Melbourne and a gruelling Wagnerian extravaganza in Lille
- the Ring recorded under Franz Konwitschny at Covent Garden in 1959 and at the Metropolitan, New York, under Erich Leinsdorf in 1961–2
- The Rienzi directed by Jorge Lavelli in Toulouse
- Wagner's Der fliegende Holländer and Dietsch's Le Vaisseau fantôme conducted by Marc Minkowski; Gergiev's Das Rheingold with René Pape as Wotan; CDs of Wagnerian piano arrangements
- new books on Wagner by Martin Geck, Paul Dawson-Bowling and Raymond Furness, and a compilation of Walter Widdop material edited by Michael Letchford
03 December 2013
12th January 2014, 4pm
Barbican, Cinema 1
A newly restored silent landmark of the first feature-length film to be made about the composer Richard Wagner with an original piano score composed and performed by Jean Hasse.
For more information and booking, please visit:
The Life and Works of Richard Wagner
26 October 2013
As part of the 200th anniversary celebrations of Richard Wagner’s birth, the Bayreuth Festival has staged a new production of the Ring - by the artistic director of Berlin's Volksbühne, Frank Castorf. Castorf, who clearly had very limited rehearsal time, takes an essentially non-Wagnerian view of the work. The result is a provocative, irritating yet fascinating production that could best be described as an 'imploded' work of art. I find Castorf’s distinctly unmusical approach to Wagner is fundamentally problematic. There are few signs, if any, that the director is able to relate to Wagner’s music, with the exception perhaps of his seemingly ironic efforts to trivialise the central scenes and climaxes. The production is both fascinating and irritating.
Read more about Frank Castorf's Ring production 2013 on Wagneropera.net
29 August 2013
Richard Wagner’s Der Ring des Nibelungen performed by Salzburg Marionette Theatre.
Salzburg Marionette Theatre will perform a compressed, two-hour version of Der Ring des Nibelungen at the Metropolitan Museum of Art on Friday, December 13th, and Saturday, December 14th at 6:30 pm.
More information here
More Wagner productions in 2013
06 August 2013
's wär' wohl gar ein biblisches Lied? Superlative performances by Markus Werba (Beckmesser) and Michael Volle (Hans Sachs). © Salzburger Festspiele / Forster
Stefan Herheim's long awaited production of Die Meistersinger von Nürnberg at the Salzburg Festival premiered Friday last week. It was well received by the audiences, generally also by the critics.
You can watch the production online on 3sat.de
According to Washington Post, Peter Gelb, General Manager of the Metropolitan Opera, was in the audience on the premiere of Herheim's “Meistersinger” and afterwards made preliminary arrangements to bring it to the Met in a future season.
The production is probably Herheim's least disturbing and most conventional so far. The action takes place in a dream Hans Sachs is desperately trying to remember and write down. The scene of the first act is Hans Sachs' giant writing-desk.
Beckmesser is neither caricatured nor demonized in this production. In fact, he is seen as another side of Hans Sachs.
Superlative performances by Michael Volle (Sachs), Markus Werba (Beckmesser),
Georg Zeppenfeld (Veit Pogner) almost overshadowed the poor playing by the Vienna Philharmonic (booed at the end), led by Daniele Gatti (also booed), mostly lagging just enough to lose all tension and speeding up rather irrationally here and there. Gatti had no feeling for the wonderful lightness in the score, and certainly not the humour and irony that a conductor of this opera must bring out.
13 June 2013
This special issue of The Wagner Journal is available at £15, free to all subscribers of The Wagner Journal.
How to buy or subscribe