If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde. Though they had tormented protagonists, themes of death and other ingredients for a frenzied geschrei, neither could break free of the Romantic era’s pull, instead inhabiting a netherworld that’s sometimes described as “post-Wagnerian” or “Straussian.” Read more »
Herbert von Karajan once said listening to some of his old recordings made him envy painters who could simply burn the pictures they disliked. He’d quite possibly be stacking kindling for Myto’s 1962 Fidelio from Vienna, a hard-driving, impulsive performance that reveals the maestro to be anything but an august stickler and stands out mostly for what it is not. Read more »
Mozart tinkered with the Messiah. Mendelssohn adapted choral works by both Handel and Bach. But when Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since. Read more »
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.
Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies.
To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.
His 75-minute setting of Oedipus in Kolonos, heard in a live 2009 performance on MDR Klassik, illustrates how Mendelssohn tried to link ancient forms with Romantic-era sensibilities by fashioning harmonically adventurous chorales and believable characters instead of abstract musical representations of mythical figures.
With orchestral and choral forces that could outnumber a small European village, Arnold Schoenberg’s Gurre-Lieder is a composition designed to overwhelm.
The finer performances of Tristan und Isolde have a way of sounding like a four-hour improvisation, the fruit of a single moment of inspiration that makes one forget how emotionally manipulative and painstakingly crafted the music really is.
Marek Janowski’s survey of Wagner operas on PentaTone so convincingly captures the pulse and dramatic flow of many of the works that the music-making at times sounds almost effortless.