Cher Public


Meet Andreas Rosar, assistant director and hero/heroine of the 2017 Bayreuth Festival. When soprano Catherine Foster injured her leg after Act 1 of Götterdämmerung last night, Rosar donned Brünnhilde’s wig and beaded gown to mime the second and third acts while the soprano sang from the side of the stage. 

Jaaaaaaaaaaa, Kööööööööööööönigin!

  • fletcher

    Die hehrste Frau!

  • Armerjacquino

    ‘Ah, the unmistakable voice’ etc etc

  • eric nyc

    Das ist kein Weib!

    • Camille

      You win MY mot du jour.

  • Baltsamic Vinaigrette

    I was there, folks! Herr Rosar basically “blocked” while Miss Foster sang from the right edge of the stage, getting out of her wheelchair with the aid of crutches. It worked best when I removed my specs, to be honest -- that gold lamé dress was visible in any case. There’s another nice picture of him in full garb with Stefan Vinke and Maestro Janowski on the front page of today’s Nordbayerische Kurier, too, if you can find it online.

    Unlike her colleagues, Miss Foster did not take an Act II curtain call. The audience settled into a rhythmic handclap in the hope that she might do so. I at least hoped for a Producers-style disembodied arm to emerge from behind the curtain and wave to us; but no.

    Miss Foster’s solo curtain calls at the end of the night were met with tumultuous applause, though there were some boos when she reappeared with Herr Rosar, and even one or two when she made a joint curtain call with Vinke, who had delivered an uneven sing. He did brilliantly in Siegfried two nights earlier. Miss Foster was fabulous throughout the week.

    At the dinner thrown by the Wagner Society of Southern California at Restaurant Steinberger following the Rheingold performance the previous Wednesday, with most of Wagner’s women as honoured guests (I chatted at our table with Nadine Weissmann, who had just scored a huge success as Erda), Miss Foster invited questions rather than addressing the attendees as such. I got stuck straight in and asked her to rate the three Brünnhilde sings. More on that again some time, I hope.

    • Camille

      Nice to hear from you BV!

      Please fill us in some more, if you please.

      • Baltsamic Vinaigrette

        Thank you, Camille. It is good to be in touch again! I cannot remember my last time posting here but I do drop by regularly enough.

        Miss Foster replied to my question by saying that, yes, she did indeed rate the three sings differently. While none could be termed entirely easy, she considers Walküre to be like “im park spazieren gehen” -- a walk in the park. It is generally kind in terms of tessitura as it does not venture too high -- with the celebrated exception of the Ride.

        Siegfried is the shortest sing of the three but it is placed high and comes with those demands before we even think about the importance of the scene and its place in the story. And of course Götterdämmerung is both a massive sing and hugely demanding psychologically. In particular, Miss Foster spoke of the need to find a way to express the rage that Brünnhilde needs in order to betray the only man she will ever love.

        Nadine Weissmann, by the way, did many in the room a favour by pointing out that singers do not always understand everything that a director does. No names mentioned: she was not answering a question but simply addressing the assembled diners for a few minutes, and affording us an insight into the lot of the singer. [Next up: Genevieve (Pelléas) at Deutsche Oper].

    • e jerry powell

      Alas, the article itself is behind a paywall, but the photo could be enough.

    • eric nyc

      As e jerry powell says, the article is behind a paywall. But the photo is visible.

  • Susan Szbornak

    I mean….this fits right in with the production, why not?

  • Pia Ngere-Liu

    Different topic -- what happened to “Montag mit Marianne”?