Avert your AIs
Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
Wieland Wagner
26 pieces since 1999 — at 2 companies, most often at Bayreuth Festival.
26
pieces
2
companies
28
years
By company
In my end is my beginning
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Some unholy wars
Caitlin Vincent‘s new book Opera Wars paints a persuasive picture of the problems facing opera today, though her solutions leave something to be desired.
Everything the light touches
Vincent Lombardo pays poetic tribute to the 60-year-long career of Robert Wilson.
Sing of happy, not sad
Matthias Davids‘s reactionary new production of Die Meistersinger von Nürnberg might be fun, but no one comes to Bayreuth for fun.
The twilight zone
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
Meticulously shaped, beautifully tinted
Stefan Vinke brings to Tristan an indefatigable heldentenor of sturdy, muscular brilliance and a physical intensity that allowed him to fearlessly traverse this complex character’s broad emotional compass.
Wien to me
Orfeo’s 150 Years box chronologically documents some of the finest nights of live opera from the Wiener Staatsoper in the years following its restoration in 1955.
It’s the Minnesinger not the song
Tannhäuser pales beside the other great Wagnerian operas in the degree to which it has innovated the Regisseur’s vocabulary for set design and dramaturgy.
The damned don’t cry
Michael Mayer‘s production of La traviata at the Met is so timid, so devoid of insight, so cynically pandering and gaudy that I hardly feel like it even matters what I think of the performances of the current cast.
Burning woman
I count myself as privileged to have witnessed Götterdämmerungat the Royal Opera House during this season’s revival of Keith Warner’s Ring.
The art of the steel
This Sony Classical set of live performances covers a golden quarter century in the singing and staging of Wagner. Birgit Nilsson shared it with many other legends, and many of them appear on these discs.
Digging in the dirt
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
Deine Divadienste will die Frau
I wish to introduce our younger Parterrians to the magical Martha Mödl to commemorate the opening of the Bayreuther Festspiele which opens tomorrow afternoon.
“Something great in itself”
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
I saw three ships
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
Festive days
There has been a conspicuous absence of chat on Parterre about this year’s Bayreuther Festspiele.
The hill is greener
Live recordings of Hans Knappertsbusch conducting Parsifal seem to proliferate like stairways in M.C. Escher prints.
The music lovers
The curious things about accepted wisdom is that sometimes it’s correct.
Opening knight
The 1965 season was a time of big changes at the Vienna State Opera.
By Adriel
9 comments
Canard à la mode
When people talk about an opera “production,” they tend to mean “the sets and costumes,” that is, the physical production.
The world is your balloon
If it wasn’t anything special as art or even entertainment, Lyric Opera of Chicago’s recent production of Rinaldo (March 24) does offer an excellent peg on which to hang an argument about the future of opera in America.
ring of truth
Wieland Wagner directs James King and Leonie Rysanek in the legendary 1965 production of Die Walküre at Bayreuth. [kml_flashembed movie=”http://www.youtube.com/v/ILGJSK-i65I” width=”425″ height=”350″ wmode=”transparent” /] Note at around 0:40 Wieland gets Rysanek set up for her explosive gesture at 1:20. The long, tense stillness suddenly broken by a quick, strong movement is a trademark of this […]
Hoyoutubeho!
Scenes from the 1967 production of Die Walkuere from the Bayreuth Festival, stage direction by Wieland Wagner. Brunnhilde: Anja Silja; Siegmund: Jess Thomas; Sieglinde: Helga Dernesch; Wotan: Theo Adam. Thomas Schippers is the conductor.
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