25 June 2011
The celebrations will focus on a cooperation of Oper Leipzig with the Bayreuth Festival, intending joint performances of the early works of Richard Wagner – “Die Feen”, “Das Liebesverbot” and “Rienzi” – in both Leipzig and Bayreuth.
Together with Oper Leipzig the Bayreuth Festival will inform about further artistic details holding a press conference in Berlin on 27 October 2011.
23 June 2011
Highly regarded when it premiered in 1983 to commemorate the centenary of Richard Wagner’s death, director Tony Palmer’s newly re-mastered Wagner biographical film is still an important addition to any Wagnerian’s DVD collection.
The film’s 16:9 aspect ratio makes it perfect for today’s wide-screen high-definition TVs, while enhancing Palmer’s breathtaking natural panoramas, according to Jerry Floyd who reviews the film on Wagneropera.net.
Tony Palmer: Wagner (review on Wagneropera.net)
Principal Historical FiguresRichard Burton (Richard Wagner), Vanessa Redgrave (Cosima), Gemma Craven (Minna), László Gálffi (Ludwig II), Sir John Gielgud (Pfistermeister), Sir Ralph Richardson (Pforden), Sir Laurence Olivier (Pfeufer), Ekkehard Schall (Franz Liszt), Ronald Pickup (Friedrich Nietzsche), Miguel Herz-Kestranek (Hans von Bülow), Richard Pasco (Otto Wesendonck), Marthe Keller (Mathilde Wesendonck), Sir William Walton (Friedrich August II of Saxony), Vernon Dobtcheff (Giacomo Meyerbeer), Jean Luc Moreau (Marius Petipa), Bernadette Schneider (Judith Gautier), Daphne Wagner (Princess Metternich), John Shrapnel (Gottfried Semper), László Horváth (Eduard Hanslick), Arthur Denberg (Paul Taxis), Péter Andorai (Mikhail Bakunin), Stephen Oliver (Hans Richter), Tibor Kovács (Sustav Siehr), Brook Williams (Paul von Joukowsky), Andrew Cruickshank (Minister Bär /Narrator)
06 June 2011
Dr. Roger Scruton introduces Paul Heise’s quest to grasp the conceptual unity of Richard Wagner’s music-drama, The Ring of the Nibelung, at www.wagnerheim.com, where Mr. Heise has made it available free so that it can be read in its entirety. This is an effort to grasp Wagner’s tetralogy as a whole (libretto text, plot, and music) in the literature. Its central argument is that Wagner’s gigantic tetralogy is an allegory representing the conflict between man’s quest for power through acquisition of objective knowledge, and man’s counter-impulse to affirm his transcendent value in religion, morality, and art.