26 December 2010

Said about the Bayreuth Festival

  • Hans Hotter on Bayreuth: It was the main point of interest when one was being interviewed
  • René Kollo (1995) on the decaying festival: Bayreuth ist vom Sender, der neue Impulse in die Welt gab, zum Empfänger geworden.
  • Waltraud Meier/Edo De Waart: The orchestra is very loud.
  • Andrew Shore on Bayreuth
  • Penelope Turing on the New Bayreuth style: Any operahouse putting on a new production of one of the operas is judged, acclaimed or condemned, according to its apparent conformity to the Bayreuth conception.
  • Sir Adrian Boult (1912): the theatre was dusty (curtains included), props shoddy, mise-en-scène prehistoric
  • Graham Clark on performing in Bayreuth: The audience reaction to performances in Bayreuth is extreme with wild and prolonged applause and cheering and also vociferous booing.
  • Eduard Hanslick, 1876: "a major artistic undertaking belongs in a major city"
  • Sebastian Weigle on conducting at the Bayreuth Festival
  • Stefan Herheim: there’s nothing to match the Festival when it comes to producing in a focussed and efficient way. Everyone working at Bayreuth sacrifices their summer holidays to be part of something special, something that you just don’t experience as a normal worker at a normal opera house in a normal season. Everyone is there to act and sing Wagner, in Wagner's own house. It’s considered an honour to take part, and all are experts in their own field. And for me, this is exactly where the real importance of the Festival lies. Here, more than anywhere else, everything that you have prepared yourself for, everything you say and do really counts.
  • Wolfgang Wagner on the Festival House

1 comment:

wagnerian said...

Interesting. I've translated this into Korean: http://wagnerianwk.blogspot.com/2010/12/blog-post_27.html