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Showing posts from June, 2011

Cooperation between the Bayreuth Festival and Oper Leipzig

In its meeting on 22 June 2011, the city council of Leipzig has conceded an extraordinary grant to Oper Leipzig for the celebrations on the upcoming occasion of the Wagner Anniversary in 2013, according to a press release from the Bayreuth Festival. 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.

Tony Palmer’s newly re-mastered Wagner biographical film

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 Tony Palmer: Wagner (review on Principal Historical Figures Richard 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 D

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 , 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.