28 December 2009

Orchestral Climax in Walküre



One my absolute favourite orchestral passages in Wagner is the climax after Wotan sings "Denn einer nur freie die Braut, der freier als ich, der Gott". This is Leonard Bernstein's interpretation from a Wagner concert in Vienna, 1985.

15 October 2009

New York Philharmonic receives $2.4 million to digitize the orchestra’s archives

New York Philharmonic receives $2.4 million grant from the Leon Levy Foundation to digitize 1.3 million pages of the orchestra’s archives.

Leonard Bernstein’s marked conducting scores will be first material released, according to www.leonardbernstein.com.

“I’ve been here 25 years, and this is life-changing,” said Barbara Haws, the Philharmonic’s archivist to The New York Times. “Access is one thing, but since we’re digitizing these documents, you’ll also have the ability to see details you’ve never been able to see: a score marked by Mahler in 1909 and used by Bernstein in 1959, a conductor making marks in the heat of the moment, some old and faded, can now be enlarged, which is just magical. On a single page there are multiple experiences reflected over time.”

A tad off topic, but this is Bernstein conducting Wagner:

08 October 2009

The Road to the LA Ring

According to the Los Angeles Opera, the first "Road to the Ring" events have set a path to the Festival and garnered enthusiasm from participants across the region.

Search lights brought people from miles away to view Charles Sherman's Ring of Inclusion sculpture on Sunset Boulevard August 28. In mid-September, artists from the California Art Club gathered downtown at California Plaza and in Pasadena at Maranantha High School to paint models enacting scenes from the Ring in plein air.

In anticipation of the September 26 opening of LA Opera's first-ever production of Siegfried, the Speakers Bureau has been on the road lecturing about the opera at public libraries throughout Los Angeles. James Conlon, LA Opera's Richard Seaver Music Director, discussed Wagner's monumental work at the Broad Stage on September 24. Achim Freyer, Ring Director/Designer, conversed with journalist Matthew Gurewitsch at the Goethe Institut on September 29th.

23 September 2009

James Conlon on the Ring cycle

As part of the "Road to the Ring," you can enjoy a rare "up-close" encounter with Maestro James Conlon, the Music Director of LA Opera, at the Broad Stage, Thursday 24 September 7:30PM 2009.

The Ring cycle, one of the most influential works of Western art, follows the adventures of gods, heroes and mythical creatures struggling for posession of a magic ring that grants domination over the entire world.

Renowned for his interpretations of Richard Wagner's repertoire, Maestro Conlon will conduct his first Ring cycle in the United States as part of LA Opera's 2009/10 Season.

This lecture is free and open to the public.

Reserve seats on the Event page

The Broad Stage
1310 11th Street
Santa Monica, CA 90401

16 September 2009

Hans Hotter Centenary Week

Hans Hotter Centenary Week, 23rd – 30th October 2009: This course at the Lodge Hill Centre, Watersfield, Sussex covers not only the roles of Wotan and Gurnemanz sung at Bayreuth by one of the 20th century’s greatest Wagnerians, but also his roles in the Barber of Seville, Strauss’s Die Schweigsame Frau and Boris Godunov and his singing of Palestrina and Die Winterreise.

The speakers are Penelope Turing, author of "Hans Hotter - Man and Artist" and David Stannard and other participants include tenor John Dobson, Hotter’s biographer Donald Arthur and his daughter Gabriele Strauss.

More information and registration: +44 20 78286712

07 September 2009

Andrew Shore on Bayreuth

Jim Pritchard has interviewed Andrew Shore about singing at Bayreuth. Shore has been praised by critics and the public for his Alberich in the Dorst Ring.

When Shore was asked about how the performances are rehearsed at Bayreuth he answered:

I think they achieve tremendous things here. I saw Stefan Herheim’s Parsifal production and although it is not an opera I know particularly well and so didn’t understand everything the director was doing with it, I could see how it all related in some way to the text. It was almost cinematographic with the stage pictures changing as the text moved through. It was very good considering the shortage of rehearsal time you get on stage here. There are seven productions to put on and so there are seven first nights almost in a row and it leaves very little stage time for each one.

Of course when we started with the Ring in 2006, the obviously that first year gets the longest preparation. We rehearsed the four Ring operas from the middle of May through to the opening night in late July. Even eight weeks or so is not enough considering the enormity of the undertaking, so traditionally they always have a few preliminary rehearsals the year before and I came out in 2005 whilst that Festival was on to do one week’s rehearsal on the opening of Siegfried Act II and the Hagen scene in Götterdämmerung. That’s all I did then so when I came back in 2006 we did the rehearsals proper.

Now for this year it went to the other extreme and we did very little rehearsing. The 19th June was the earliest I could get here because I was singing in Milan. I assumed that rehearsals might have already begun before I got here but no: that was when everyone was starting so virtually all we had time to do was cover each scene that we were in once; just to make sure we remembered it. Naturally there are the orchestra rehearsals which are always held in the restaurant and then towards the end of the schedule you go on stage for the final rehearsals with the orchestra. When I first came back here in 2007 it was a shock to find how little revival time there was, but you get used to the system and that is just the way it is. At the Festspielhaus there are 6 or 7 different rehearsal stages most of which can accommodate large sections of the set even if they cannot take the whole thing. The sets are usually constructed in such a way that they can be wheeled around in units from one of these stages to another.


Shore's view on the Dorst Ring is very similar to what almost everyone thinks:

I must be honest and say I was disappointed and had expected more when I first started work on this Ring because, naturally, one comes to Bayreuth with the expectation – right or wrong – that you are going to see something exciting and done in the proper way. Of course, what you discover is that those things depend entirely on the creative team and Bayreuth is no different in any respect from anywhere else in that.

The first Alberich - and indeed Wagner – I had done was at ENO when Phyllida Lloyd directed the Ring. Now whatever you may think of Phyllida’s production it had been very carefully thought through and, from a performer’s point of view, it was richly rewarding because my character was fleshed out. I understood my motivation, my relationship with everyone else, and where I stood in the contemporary world if you wished to make that parallel association. Having dealt with all that I come here to be confronted with what I can honestly say is a very naïve approach – but I think deliberately so – on the part of the director.

Tankred Dorst is someone who, as far as I know, is steeped in the mythology of the Ring particularly from the literary point of view. He clearly respects the simple narrative of the words and instructions as they are they are presented in the text. One cannot criticise him too much from a personal point of view because he has never produced an opera before and he has come to it with his own best intentions. That is why the curtain comes in so many times in this staging because the text says that the curtain comes in and so that is what has happen. His starting point is the text and I suspect this is why he got this idea, which for me is a very simple and insubstantial one, of having the modern world creeping into scenes. Sometimes so much happens in musical terms between the time these extraneous characters appear and then reappear that the audience are really puzzled as to what they are doing there. So it would have been better if the modern world idea had been followed through more and showed that the mythology had some real relevance to the modern world.

I repeat: I do think it is all due to Tankred Dorst’s lack of experience in opera and he is a thoroughly nice man. Now in my fourth year here, I increasingly feel I am much more in control of what I am doing; you come in the first year as an innocent Englishman waiting to be told what to do, how to sing it, when to come out, where to sit and all that. You end up feeling that you must please everyone as much as possible and that is not what a performer should really be doing. Now I’ve come through all of that and do feel I’ve seized control of what I do with regard to the acting and, within prevailing limitations, feel freer to do what I think is right because the director is only too happy for me to do that, it seems.


Andrew Shore was supposed to wear a costume with an extra head, but luckily this was dropped:

The designer and director wanted Alberich to appear as a rather more inhuman sort of figure and I would have a false head sitting on top of my own and my face would be blacked out. So picture this, if you can, an unmoving head with a fixed facial expression with which, of course, there were several problems when we tried it out in rehearsal. Firstly, it was difficult to move around without the head falling off, but the main problem was that I felt it was distracting from the way I wanted to express Alberich - which required using my real face and not a false one. I felt instinctively that it would only be a matter of time before I had to put my foot down about it.

Fortunately I had Wolfgang on my side about this. At that stage he was still very much around and had the habit of appearing at rehearsals anytime unannounced and sat at the corner of the stage resting his chin on his stick while we were going through things and the production staff were in the auditorium. There were two things about this; first of all I found it so moving that the composer’s grandson was watching me perform Alberich with his face wreathed in beaming smiles and I thought to myself ‘Isn’t this wonderful’ because he was obviously appreciating what I was doing. More importantly, however, whenever that wretched head appeared he would make a real fuss about it because, as everyone knows, he was always very outspoken and would start shouting out his opinions in his rough Bavarian German. It came to the point where he started hiding the head so we couldn’t use it and people would be rushing round saying ‘Have you seen the head?’ Wolfgang would sit there – as innocent as could be – having hidden it. He hated it and I am so grateful for him speaking up.


On working with Christian Thielemann, Andrew Shore says:

Well the music is on a completely different level for me and it is astonishing the sounds that he gets from the orchestra. They are, of course, all hand-picked players; they have played this together for four years now and many could have played it with him before, so they know how to respond to his every gesture. Watching him mould and shape the music is wonderful yet he retains the freedom from one performance to another to slightly change little corners, taking a bit more time here or there and you know you just have to keep you eye on him all the time to respond to those little moments.


Read the whole interview here

Andrew Shore on the prompter's role at Bayreuth


06 September 2009

Seattle Ring in August



Three complete cycles of Seattle Opera’s production of Wagner’s Der Ring des Nibelungen has recently been performed at McCaw Hall.

The production was first unveiled in 2001, "inspired by the beauty of the Pacific Northwest". Director Stephen Wadsworth and conductor Robert Spano, music director of the Atlanta Symphony Orchestra, returned for this summer’s production, which featured singers like Janice Baird, Stig Andersen and Greer Grimsley.

On Seattle Opera’s website, guest bloggers have been invited to contribute to the Seattle Opera blog, and the blog also featured a daily caption-writing contest. Doing what all opera houses in my opinion should do, the Seattle Opera used YouTube as part of their marketing stretegy. A new video series called The Road to Valhalla gave viewers a look behind the scenes into the complex activities that go into producing the Ring Cycle, and trailers (see below) were also put on YouTube.



The Seattle Ring videos

Das Rheingold - the Seattle Opera Way


Die Walküre - the Seattle Opera Way


Siegfried - the Seattle Opera Way


Götterdämmerung - the Seattle Opera Way


The Seattle Opera
The Seattle Opera Blog

02 September 2009

Seattle Opera Ring: The Road to Valhalla, part 1-5

For the performances of three full Ring cycles at the Seattle Opera, several informative videos were made, covering the rehearsals, costumes, sets and props, special effects and orchestra/chorus. The videos give a great glimpse of the backstage life.

Rehearsals


Costumes


Sets and Props


Special effects


Orchestra and Chorus

31 August 2009

Stukas (1941) - scene from Festspielhaus

A short scene from the feature film "Stukas" (1941), directed by Karl Ritter, was made in the Festspielhaus at Bayreuth. The scene shows a depressed and apathetic bomber being cured by listening to Götterdämmerung at the Festspielhaus. The music – which he says would have sounded even better played "vierhändig" on a piano (!) – gives him spirit and energy to return to the battle field.



More on "Stukas"
Wagner music in movies

07 July 2009

Matti Salminen's Birthday Today

Matti Salminen as King Marke in Chereau's Tristan

It is the one and only Matti Salminen's birthday today. What a stage presence that man has! He can make an otherwise dull performance shine just by being present on the stage.

Matti Salminen was born 7 July 1945.

Matti Salminen at Bayreuth

22 May 2009

Helene Grimaud on Wagner’s piano in Villa Wahnfried



Hélène Grimaud and the charity event “Kindercamp in Concert” in Bayreuth: Hélène Grimaud will perform in Villa Wahnfried on 24th July 2009, the day before the official opening of the 2009 Bayreuth Festival. Grimaud is performing exclusively for the international charity project Kindercamp Villa Sans Souci. With this charity event Hélène Grimaud is embarking on a series of concerts and cultural events devoted to the Kindercamp Villa Sans Souci initiative.

This concert is given to a limited number of 80 guests who are all dedicated to supporting children and young people with life-threatening illnesses.

Hélène Grimaud will perform part of the programme on Wagner’s original Steinway piano (1876) in addition to playing works by Johann Sebastian Bach and Bach arrangements by Franz Liszt, Ferruccio Busoni and Sergej Rachmaninoff.

The concert concludes the forum Music in Dialog, an initiative of the International Business Magazine Drive, devoted to the subject “Regietheater”. A number of well-known experts including Christian Thielemann, TV producer Dieter Wedel and Laurenz Lütteken from the University of Zurich will discuss Regietheater with Nina Ruge as moderator.

This event will be rounded-off by a public viewing of works by the photographic artist Mat Hennek. Galerie Bernheimer Fine Arts is presenting the international photographer’s works „Soul of Music“, a series of portraits of famous musicians, during the entire Bayreuth Festival.

In 1999 Hélène Grimaud founded the Wolf Conservation Center of South Salem to study the animals’ habits in a natural environment. Alongside notable physicians Hélène Grimaud has become a member of the Board of the German-American Foundation International Kindercamp Villa Sans Souci which was founded in 2006. The activities of the foundation are focused on setting up an institution of medical capacity to support children and young people with life threatening illnesses.

In the magnificent surrounding of Brandenburg with plenty of lakes, young people suffering from physical and psychological disease will be living together to regain power for a new life after a period of pain and misery.

Kindercamp.org
Villa Wahnfried
Bayreuth Festival 2009

29 March 2009

Final Schenk Rings at Metropolitan

This spring is your last chance to experience "Otto Schenk's landmark production" of Der Ring des Nibelungen, as the Metropolitan Opera calls it. I have one or two reservations about the "landmark" statement, but if I had been over there, I sure would have liked to see it live. It is of course available on DVD.

RING CYCLE 1
Rheingold, Das - Saturday, March 28, 2009 - 1:00 PM
Walküre, Die - Saturday, April 11, 2009 - 12:00 PM
Siegfried - Saturday, April 18, 2009 - 12:00 PM
Götterdämmerung - Saturday, April 25, 2009 - 12:00 PM

RING CYCLE 2
Rheingold, Das - Monday, April 27, 2009 - 8:00 PM
Walküre, Die - Tuesday, April 28, 2009 - 6:30 PM
Siegfried - Thursday, April 30, 2009 - 6:00 PM
Götterdämmerung - Saturday, May 2, 2009 - 6:00 PM

RING CYCLE 3
Rheingold, Das - Monday, May 4, 2009 - 8:00 PM
Walküre, Die - Tuesday, May 5, 2009 - 6:00 PM
Siegfried - Thursday, May 7, 2009 - 6:00 PM
Götterdämmerung - Saturday, May 9, 2009 - 6:30 PM

If you want to experience Iréne Theorin, who recently made her Met debut, your first opportunity is Die Walküre 11 April. The cast is great. This could be a wonderful evening:

Conductor: James Levine
Brünnhilde: Iréne Theorin
Sieglinde: Waltraud Meier
Fricka: Yvonne Naef
Siegmund: Johan Botha
Wotan: James Morris
Hunding: John Tomlinson

The cast for Siegfried in the same cycle 18 April:
Conductor: James Levine
Brünnhilde: Iréne Theorin
Erda: Jill Grove
Siegfried: Christian Franz
Mime: Gerhard Siegel
Wanderer: James Morris

27 March 2009

Klaus Florian Vogt to replace Burkhard Fritz as Lohengrin



Klaus Florian Vogt will replace Burkhard Fritz as Lohengrin in Stefan Herheim's new production at Staatsoper Berlin.

This is the second major cast change for this production after René Pape was replaced by Kwanchul Youn.

Unfortunately I have never heard Fritz, so I do not know what is lost by his withdrawal. But I know what we get: a wonderful Lohengrin - with a soft, almost melancholic voice. It is a voice you just want to sink into and let yourself be drowned by, to use a metaphor appropriate for a Wagner lover. I was fortunate to hear Klaus Florian Vogt as Walther in Katharina Wagner's Meistersinger at Bayreuth last summer, and it was certainly one of the highlights of that summer. No need to say that the Bayreuth audience adored him. You will of course know Vogt from the DVD from Baden-Baden as Lohengrin in Nikolaus Lehnhoffs production. I don't mean any disrespect to Burkhard Fritz, but this change makes me very glad indeed.

23 March 2009

Waltraud Meier will not sing Brünnhilde

Waltraud Meier as Isolde in Heiner Muller's Bayreuther Tristan

Waltraud Meier has decided not to include Brünnhilde into her repertoire, according to her agent at Hilbert Artists Management.

She will continue singing Sieglinde, which she will also do in the production at La Scala in autumn 2010.

As first noticed by Mostly Opera, Brünnhilde disappeared from Meier's schedule on her agent's homepage some time ago, and when the cast for the new Cassiers/Barenboim production at La Scala of the Ring was announced, Nina Stemme was cast as Brünnhilde.

With Meier's decision not to sing Brünnhilde, we will probably miss the most moving and beautifully sung Walküre Act 3 and especially the lines "War es so schmählich, was ich verbrach" and "Der diese Liebe mir in's Herz gehaucht" - ever.

Waltraud Meier's Homepage

16 March 2009

Parsifal and Kundry reborned – Kiseljov's Parsifal in Brno



I have received information about a pantomime production of Parsifal in Brno and would like to share it with you:

"Vladimir Kiseljov, the 25 years-old Czech director, stage designer and President of Richard-Wagner-Society Brno, had on 20. April 2008 in the theatre Reduta Brno in Czech republic fulfilled his dream – to show on stage his concept of the whole Richard Wagners Parsifal as a pantomime – initiation mysterium.

The performance was consulted and recommended by Hans Schavernoch and is probably the first realisation of whole Wagners Parsifal as a pantomime on the complete recording of Wagners score played from 6 loudspeakers around audience, which create in some places of this stage mystery an effect of voices from the heaven, slowly moving up above the audience. This staging presented two actors of Parsifal (1. young and 2. reborned "Erlöser" in Act 3) and 3 actresses of Kundry, because we see them in long time distance in the circulation of their incarnations, till they together at the end became an ideal one being of the "Erlöser", which is only Parsifal and Kundry together, after their near-Tantric ritual of reaching the Grail – state of mind. Salvation comes after the fullfilling of lost capability of live and love of at least two beings together, which through their compassion and love, cojuction of the oposit men and women principles brings salvation to the whole world.

The hidden philosophic intentions of Wagners drama are shown on the stage with gestures and situations, which go not only descriptive to saying of characters- many times we see a counterpoint between what they say, and what they realy think and do. We see mixture of Hindu mudras and gnostic-christian gestures in rituals, which would like to reborn the forgotten rituals of old. But with no provocation or vulgarity, only with humility, which comes from a conection of Wagners "Parsifal" and his Hindu-drama "Die Sieger".

Light in this performance breaths close with Wagners music, shows living unity with the dramatic hearth of Wagners Parsifal. The audience can almost touch the actors, no long distance between actors and audience, which can create sense of farness of the action an his theme. More about this perfomance you may find on www.kiseljov.ic.cz under "Parsifal ND Brno".

Next actions of the Richard-Wagner-Society Brno are exhibitions of paintings and performances of Vladimir Kiseljov, which are inspired and acompanied by Wagners, Bruckners and Rimsky-Korsakovs Music and interpretation of those musical works from sight of philosophy, music and visual dramatic art.

Those actions také place in Brno, Praha, Ostrava, Jihlava (as a part of international music festival Mahler Jihlava 2009) and other cities of Czech republic. One of the actions is a performance, when Vladimir Kiseljov live in front of an audience with music relizes his wall-paintings of Wagners Parsifal – on 22. 6. 2009 in „Galery of Critics“- Adria Palace in the centre of Praha. Other actions of Wagners Society of Brno you will find on www.wagnerbrno.cz.