31 January 2010

Stefan Herheim on Daniele Gatti, preludes and tempi



In this first of a series of interviews with Norwegian director Stefan Herheim, Herheim tells about his collaboration with Daniele Gatti, Gatti's choices of tempo and phrasing, fast vs. slow Parsifals and staging Preludes. Herheim sees Preludes as the opening of the door to the world of the opera performed that evening.

It was not easy to convince the conductor (neither Gatti in Bayreuth nor Barenboim in Berlin) that there should be a scenic action during the Prelude to Act 1 of Parsifal and Lohengrin. In the interview Herheim talks about this.

You can also read about the conductor's choice of musical tempi. The tempi means a lot to the instruction of singers and to Herheim's famous battery of stage decorations moving up and down, in and out of the stage during the drama. How would a faster Parsifal affect his Bayreuth production?

Stefan Herheim on working with Daniele Gatti, the choice of tempi and the staging of preludes

1 comment:

mostly opera... said...

Great interview. As you know I am rather critical of both Herheim´s Parsifal and Lohengrin, but I completely agree with him on the preludes: In my opinion it makes excellent sense to stage the preludes and create an introduction to the story as opposed to having to looke at the stage curtain.