30 June 2010

The Wagner Journal

The Wagner Journal Volume 4 Number 2 is on its way out to desperately waiting subscribers.

The issue features:
  • Tannhäuser: The Rhetoric of Opposition in Wagner’s Romantic Operas (Arnold Whittall)
  • Liszt on Lohengrin (or: Wagner in absentia): Part 2 (translation from The Monthly Musical Record edited by david trippett)
  • Designs on the Ring - Patrick Carnegy unravels the mystery surrounding Josef Hoffmann’s original sketches
  • Bernhard Loeser and the Berlin Premiere of Die Meistersinger (Jonas Karlsson)

Reviews:
  • Soup, Soap and Salvation. Erling E. Guldbrandsen assesses a radical new approach to Tannhäuser
  • Red Ring for Paris. The first complete cycle at the Opéra for half a century gets under way (Mark Berry)
  • Grim Tale Told with Dark Humour. Simon Williams is enthralled by the final instalment of the Los Angeles Ring
  • Back to Berlin. Mark Berry appraises three Wagner revivals at the Deutsche Oper

On the front cover illustration, the gods prepare to ascend the rainbow bridge to Valhalla at the end of Das Rheingold. The scene is as imagined in oils by the Viennese landscape painter Josef Hoffmann, whom Wagner had commissioned to design the Bayreuth premiere of the Ring in 1876.

11 June 2010

John Treleaven and Linda Watson criticize Achim Freyer's L.A. Ring

John Treleaven (Siegfried) and Linda Watson (Brünnhilde) have criticized director Achim Freyer's production of Der Ring des Nibelungen in Los Angeles as artistically flawed and physically dangerous, Los Angeles Times reports. They also have spoken up about their backstage skirmishes with the idiosyncratic auteur.

John Treleaven has been hurt twice during stand-alone productions of "Siegfried" and "Götterdämmerung". The culprit is the severely raked, or angled, stage that forces singers to perform as if on the side of a slope. The rake is among the steepest ever used by the company.

Linda Watson, who will sing Brünnhilde in the Dorst / Thielemann Ring at Bayreuth this summer, called the set the "most dangerous stage I've been on in my entire career."

Los Angeles Timesa article