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6.8.15

Production Photos from the Bayreuth Festival's Rheingold




After two years of being voraciously booed in every performance of every run, Frank Castorf’s production of the Ring cycle at the Bayreuth Festival appears to have turned the corner. At the first performance of Das Rheingold in this third year of Wagner’s Ring Cycle, there were maybe one or two brief boos and then it was all enthused hooting and hollering for the cast and especially Kirill Petrenko, who is now of course the designated artistic director of the Berlin Philharmonic. I believe it was Patrice Chereau (whose “Centennial Ring” production was also ferociously jeered at first, before it became the most applauded and lauded production in the history of Bayreuth) who said that in Bayreuth, “after three years, it becomes tradition”. With time ever speeding up, we have arrived at “after two years, it becomes tradition”...

Full review on Forbes.com. Click on excerpted images below to find a higher resolution version of the full picture.

All images courtesy Bayreuth Festival, © Enrico Nawrath


Bayreuth After Wolfgang

This post was initially published on WETA 90.9 FM's classical column on September 1, 2008.


It seemed worthwhile unearthing this bit I wrote seven years ago, ahead of my posting reviews of this year's Ring and Katharina Wagner's new production of Tristan.


If Munich’s annual Opernfestspiele is the largest opera festival in Europe, and Salzburg the most glamorous, the Bayreuth festival (just two hours to the north of Munich and conveniently without overlapping) is the most iconic.

Munich can boast with quantity and variety (46 performances in 34 days, 20 different operas), Salzburg with location and star power. “The Green Hill” in Bayreuth meanwhile is the nexus of all things Wagner. The annual point of pilgrimage for Wagnerians around the world has even near mystical qualities… a fact to which the eight year waiting list for tickets contributes.

But Bayreuth seemed in troubled waters for the last few years with squabbles between the Festival Director “for life” Wolfgang Wagner and the Bayreuth Trust (which includes influence and funding from the Bavarian State Government) breaking out over the future leadership of the Festival. Wolfgang Wagner, the master’s grandson, wanted to anoint his daughter of second marriage (with Gudrun Wagner, née Armann) as the new director. Apart from lacking the statutory power to stipulate his successor, that daughter, Katharina Wagner, was eyed with suspicion as too young, too inexperienced. Her niece Nike Wagner – daughter of Wolfgang’s genial and more artistic brother Wieland and artistic director of her Weimar Festival – bickered loudly and very undiplomatically in all the German Feuilletons about revolutionizing post-Wolfgang Bayreuth.

Wagner might have supported revolutionary activities when in Dresden, but his successors in Bayreuth shiver at the very idea. Nike Wagner became a persona non grata at the festival. Not the least to prevent Nike Wagner from bringing her ideas to this most traditional of opera festivals, Wolfgang Wagner clung to the directorship and – given his deteriorating vitality – seemingly to life, also. Wolfgang Wagner’s daughter from his first marriage meanwhile, Eva Wagner-Pasquier,herself the seasoned artistic co-director of the Aix-en-Provence Festival, was once vetoed by her father as the potential successor by her own father – presumably to keep the chances alive for the succession of Gudrun’s daughter. The curtain-raiser for the convoluted end-game of the Bayreuth ascension was to be Kathrina Wagner’s direction of Die Meistersinger at last year’s festival – by all accounts an impressive and intelligent feat.

All in all it was a terrific plot of brothers, step-daughters and –mothers, changing alliances and broken contracts, and all in a battle over the ascendancy of the Wagnerian throne. Operatic stuff, you might say, and it has happily filled the cultural sections of newspapers for some time.

Unexpectedly and in keeping with great drama, Wolfgang Wagner’s young second wife Gudrun, who had domineered behind the scenes, died. No one would likely admit to her passing having been a relief for the many involved in the future of Bayreuth, but it certainly did hasten efforts in coming up with a workable compromise.


Step-daughters Katharina the Young (30) and Eva the Quiet (63) have made their peace for now – leaving Nike the Wily out in the rain. Not even a last-minute ‘application’ of Nike Wagner teaming up with ex-Salzburg, Paris and future New York City Opera General Director Gerard Mortier changed anything about that. If their last-hour bid was even meant to be taken seriously, it likely wasn’t seriously considered by the Bayreuth Trust’s board who made their decision for the succession of the Festival leadership today.

Wolfgang Wagner, who few trusted to have the energy necessary to effectively run the Festival, can now lean back with the future of Bayreuth securely in the hands of his branch of the family. To see him take his last bow after the last performance under his reign (Parsifal, last Thursday), became a touching affair.

Judging from the Wagner-daughters’ concept for the future of Bayreuth, a happy end might come of the tussle, after all. The happiest part of it being that is has come to an end, at all. A conservative approach to the tradition ensures that that which has made the Festival special will remain in place. Bayreuth will continue to show the 10 Wagner operas of the Bayreuth canon – and only those. For Rienzi, Das Liebesverbot, and The Fairies, Wagnerians must continue to look elsewhere. Hardly too much to ask of them.

Innovation for innovation’s sake – a common disease of many traditional institutions – is shunned. Meanwhile weaknesses are reckoned and named. The quality of the singers in Bayreuth has been less than that at the great Wagner opera houses in Berlin, Munich, New York, Vienna et al. Few of the great Wagnerian singers are willing to spend their summers only at Bayreuth when they could more profitably make shorter appearances at different festivals. Money and determination will have to aid mere reputation to improve matters here. Audiences won’t continue to give standing ovations to the well-below average vocal performances forever. The same can be said for the conductors who appear at Bayreuth who have been – Bayreuth’s future musical consultant Christian Thielemann excepted – less than inspiring. Even Daniele Gatti’s Parsifal this season was short on the mystical and long on, well, length.

More emphasis will also be placed on how the Festival markets itself. Just relying on one’s own importance combined with a rather dusty approach to press relations will eventually not suffice for keeping Bayreuth vital. Katharina Wagner is the woman for this – and has already introduced concepts like a public viewing and internet streaming of (her) Meistersinger that found nearly 40,000 viewers: more than could watch the performance live over a regular 7 year run. Marketing, however, does not mean gratuitously offending existent clientele nor breaking with traditions for the sake of breaking with them. Hopefully this will also include adjusting its 19th century-style PR division.

The rest of the Wagner/Wagner-Pasquier program emphasizes matters still or already in place – not the least the continued choice of intriguing and innovative directors who challenge the status quo, balanced with traditional productions that avoid being backward. Their rather reticent plan, devoid of revolutions or surprises, might disappoint those who hoped for creativity out of upheaval, creative destruction. It will come as a great relieve to those who believe in Bayreuth’s skill to innovate within the bounds of a strong and strict tradition. Even to those who cherish Mortier’s ability to give institutions of ‘high culture’ a shot of adrenaline (or cocaine) – I among them – it must seem unlikely that Mortier’s work would actually have advanced Bayreuth as much as he can any other institution (like the City Opera of New York or Madrid’s Teatro Real), while offering a potential of irrevocable loss of customs where customs are held so particularly dear.

Boredom won’t overcome Bayreuth if the quality of its performances is first class. And seeing that few of its productions have failed to outrage the reactionaries, hopes are high that they will continue to do so in the future.





Image of the Wagner Sisters by Johannes Simon / Getty Images


5.8.15

Ionarts in Santa Fe: 'Daughter of the Regiment' / 'Rigoletto'


Bruce Sledge (Duke of Mantua) and chorus in Rigoletto, Santa Fe Opea (photo by Ken Howard)

Charles T. Downey, A sensational “Rigoletto” debut and uneven “La fille” at Santa Fe Opera (The Classical Review, August 5)
For one of its standard repertoire pieces this season, Santa Fe Opera has returned to Verdi’s Rigoletto for the first time since 2000, heard on Tuesday night. With a libretto drawn from Victor Hugo’s Le roi s’amuse, Verdi manages to make the two male lead characters, the title jester and the Duke of Mantua sympathetic, even when they are largely repulsive...
[Continue reading]

SEE ALSO:
Zachary Woolfe, Santa Fe Opera Offers ‘The Daughter of the Regiment,’ ‘Rigoletto’ and ‘Salome’ (New York Times, August 7)

Scott Cantrell, Santa Fe’s ‘Rigoletto’ a feast for the ears, but not the eyes (Dallas Morning News, August 5)

John Stege, Napoleonic Tomfoolery: Getting regimented at the Opera (Santa Fe Reporter, July 8)

---, Voices, Voices, Voices: This Rigoletto’s a contender (Santa Fe Reporter, July 15)

James M. Keller, Season opens with Donizetti's ‘Daughter of the Regiment’ (Santa Fe New Mexican, July 4)

---, A dark and stormy night at SFO’s Rigoletto (Santa Fe New Mexican, July 5)

4.8.15

À mon chevet: 'Go Set a Watchman'

À mon chevet is a series of posts featuring a quote from whatever book is on my nightstand at the moment.

book cover
Mr. Stone had pronounced the benediction and was on his way to the front door when she went down the aisle to corner Herbert, who had remained behind to shut the windows. Dr. Finch was faster on the draw:

"--shouldn't sing it like that, Herbert," he was saying. "We are Methodists after all, D.V."

"Don't look at me, Dr. Finch." Herbert threw up his hands as if to ward off whatever was coming. "It's the way they told us to sing it at Camp Charles Wesley."

"You aren't going to take something like that lying down, are you? Who told you to do that?" Dr. Finch screwed up his under lip until it was almost invisible and released it with a snap.

"The music instructor. He taught a course in what was wrong with Southern church music. He was from New Jersey," said Herbert. [...] "He said we might as well be singing 'Stick your snout under the spout where the Gospel comes out' as most of the hymns we sing. Said they ought to ban Fanny Crosby by church law and that Rock of Ages was an abomination unto the Lord."

"Indeed?"

"He said we ought to pep up the Doxology."

"Pep it up? How?"

"Like we sang it today."

Dr. Finch sat down in the front pew. He slung his arm across the back and moved his fingers meditatively. He looked up at Herbert.

"Apparently," he said, "apparently our brethren in the Northland are not content merely with the Supreme Court's activities. They are now trying to change our hymns on us."

-- Harper Lee, Go Set a Watchman, pp. 96-97
Anyone who had written a debut novel as good as To Kill a Mockingbird would be understandably reticent to try to follow it up with anything else. It took over fifty years, but Harper Lee did it. This book is a sort of companion volume to her first novel, involving the return of Scout to Maycomb, as an adult in the 1960s. If you enjoyed the characters and setting of Mockingbird, this book adds some dimensions to them; indeed it duplicates a few passages verbatim. On its own merits, it is not a great book.

The best fleshing out is in Scout's uncle, Dr. Finch, shown here as he dresses down the music director at the Finches' Methodist church, who has ordered the organist to play the Doxology ("Old 100th") with a different rhythm than how the congregation has always sung it. Dr. Finch has an inordinate love for English literature, which seems to have had a literary influence on Scout. At one point, Scout cuts her father's lawn with the lawnmower: "She glanced with satisfaction at the neat swath behind her. The grass lay crisply cut and smelled like a creek bank. The course of English Literature would have been decidedly different had Mr. Wordsworth owned a power mower, she thought."

3.8.15

Musical Heroes at Tanglewood

We welcome this review from Tanglewood by guest contributor Seth Arenstein.

available at Amazon
Shostakovich, Symphony No. 10, Boston Symphony Orchestra, A. Nelsons
(DG, 2015)
When prominent soloists, cast in the role of musical heroes, overshadow a concert program, smaller pieces may receive less attention, perhaps even diminished rehearsal time. Fortunately the Boston Symphony Orchestra played all three works on its Sunday matinee at Tanglewood -- Haydn’s Symphony No. 90, Brett Dean’s Dramatis personae for trumpet and orchestra, and Strauss’s Don Quixote -- during this past season and will take them to Europe later this summer on tour. The Dean and Strauss were in fine shape, and the Haydn was a revelation.

Another musical hero this day was Andris Nelsons, making his Tanglewood debut as the BSO’s music director during these weekend concerts. At 36, the Latvian conductor led with infectious energy, and both his musicians and the overflow audience clearly adored him. (As reported by Jeremy Eichler this morning, Nelsons has extended his contract in Boston through 2022.) Nelsons’ playful Haydn was tempered effectively with deliberate styling. Brass fanfares were triumphant without being overbearing. String tuttis were shapely yet controlled, affording principal flute Elizabeth Rowe and assistant principal oboe Keisuke Wakao ample room to shine in solo passages. An animated presence on the podium, Nelsons was pure entertainment during the Menuet, putting down his baton and straddling the podium with his left hand. Just before the finale’s coda, he seemed to revel in surprising the audience into premature applause, expertly executing one of Haydn’s musical jokes.

Dean’s Dramatis personae is an energetic showpiece, composed in 2013 for Håkan Hardenberger, who also took the solo part in this performance. In the first movement, Fall of a Superhero, after a soft percussion ostinato featuring wood blocks, Hardenberger joined the raucous proceedings with rapid-fire notes, wide intervals, and raspy flutter-tonguing. The music eventually became slow and mysterious, Hardenberger’s trumpet smoothed by a cup mute. With music from the frenzied opening returning, the trumpet emitted a series of high shrieks before ending on a growling glissando, descending to an exhausted whimper. Hardenberger’s silvery sound, mutes, tonguing styles, and growls highlighted the trumpet’s ability to produce an array of colors. Soliloquy, the soulful second movement, was notable for a moment of silence followed by a combination of chimes, celeste, and bells, creating an eerie pianissimo reminiscent of a film score about outer space.


Other Reviews:

David Weininger, Nelsons keeps it familiar in Tanglewood concerts (Boston Globe, August 3)
Charlie Chaplin’s Modern Times inspired the finale, The Accidental Revolutionary. Halfway through, Hardenberger, two other trumpets on either side of the stage, all using cup mutes, and the orchestra were juxtaposed against a small brass ensemble, which played a catchy march. At the end, Hardenberger and the two trumpets moved to the back of the orchestra, where he used a piccolo trumpet to create a chaotic counterpart to the march, reminiscent of the Rondo-Burleske in Mahler’s Ninth Symphony.

After the dissonance of the Dean, Strauss’ often cacophonous Don Quixote seemed an almost timid finale. Soloist Yo-Yo Ma’s sweet bowing and irrepressible energy were a perfect fit to play the hero in Strauss’s ten musical variations. Yet the spirited playing of BSO principal viola Steven Ansell, as well as other principals, including trumpet Thomas Rolfs and concertmaster Malcolm Lowe, was a reminder that Nelsons has a potent ensemble at his disposal. Appropriately he asked each to take solo bows.

2.8.15

Perchance to Stream: Santa Fe Edition

Here is your regular Sunday selection of links to online audio and online video from the week gone by. After clicking to an audio or video stream, you may need to press the "Play" button to start the broadcast. Some of these streams become unavailable after a few days.

  • Listen to the performance of Wagner's Der fliegende Holländer, recorded at the Bayreuth Festival. [BR-Klassik]

  • Kirill Petrenko leads a performance of Wagner's Das Rheingold at the Bayreuth Festival. [BR-Klassik]

  • Listen also to the Bayreuth performances of Die Walküre and Siegfried. [Radio Clásica | ActII | ActIII / Radio Clásica | ActII | ActIII]

  • And Lohengrin from the Bayreuth Festival. [Radio Clásica | ActII | ActIII]

  • Yannick Nézet-Séguin leads the Vienna Philharmonic and the Bavarian Radio Choir in Martinů's Frescoes of Piero della Francesca and Bruckner's Mass No. 3, with soloists Dorothea Röschmann, Karen Cargill, Christian Elsner, and Franz-Josef Selig, recorded at the Salzburg Festival. [ORF | Part 2]

  • La Venexiana performs music of the Gabrielis, performed in St. Gall in June. [Radio Clásica]

  • Have another listen to the performance of Chausson's wonderful opera Le Roi Arthus, recorded last May at the Opéra National de Paris, starring Thomas Hampson, Sophie Koch, and Roberto Alagna. [ORF]

  • Ottavia Dantone leads a performance of Handel's oratorio Jephtha, with the Accademia Bizantina, the Namur Chorus, and soloists, recorded at the Beaune Festival last month. [ORF]

  • Listen to Yuja Wang's debut recital in Sydney, with music by Scriabin, Chopin, and others. [ABC Classic]

  • From the Musikverein, Philippe Jordan leads the Vienna Symphony in music of Webern, Schubert, and Strauss. [France Musique]

  • Valery Gergiev leads a performance of all five of Prokofiev's piano concertos, with Daniil Trifonov as soloist and the London Symphony Orchestra. [BBC Proms | Part 2 | Part 3]

Production Photos from the Bregenz Festival's Turandot


It might merit confessing that I’m not all that hot about Puccini and that I suffer from a general deficiency in appreciating Italian opera. That said, I consider Turandot the best compromise as far as quality and popularity is concerned. Granted, I think that if it weren’t for Nessun dorma and one or two other greatest-hits moments and the ensuing grand popularity, nothing near the throngs of people would go sit through Turandot, as they might realize it’s actually a fairly modern opera, worthy of its 1925 composition date, and audibly aware of, say Alban Berg’s work.

But there it is, Turandot, associated more with Paul Potts than Alban Berg, and drawing millions. Even in the rain… for rain it did that night...

Full review on Forbes.com. Click on excerpted images below to find a higher resolution version of the full picture.

All images courtesy Bregenzer Festspiele, © Karl Forster





1.8.15

Dip Your Ears, No. 202 (Schulhoff on the Piano)

available at Amazon
E.Schulhoff, Piano Works: Sonata No.2; Five Pittoresques op.31; Two Pieces; Music for Piano op.35; Esquisses de Jazz,
Caroline Weichert
Grand Piano

available at Amazon E.Schulhoff, Sonatas Nos.1 & 3; Improvisations de Jazz; 5 Burlesques op.23; 5 Grotesques op.21; Five Pittoresques op.31; Ironies op.34 et al., M.Babinsky
Phoenix

UK | DE | FR
Sonatas and other Rarities

With deft tenacity, humor, and grit, Caroline Weichert does her part to bring Erwin Schulhoff’s piano works to life in her Schulhoff-survey which includes Pittoresken (of which “In futurum” is a part). Keith Jarrett could have been inspired by Schulhoff’s Second Sonata; its slow movement especially is a dreamy slice of quasi-improvisatory bliss. Mechanical rigor sits easily side by side with Jazz influences in Esquisses de Jazz and catchy Charleston comes with classical variation forms.

Margarete Babinsky (with her partners where four hands are needed) is equally enticing on her 2 CD disc and complements Weichert’s second volume very well. The first sonata, dedicated to Thomas Mann, could be placed anywhere on an imagined continuum between Prokofiev and Antheil. The Jazz Improvisations are amazingly effective good-mood music, impossibly charming and unabashedly easy on the ears. If hotel lobby pianism wasn’t the prerogative of hell, but heaven, it might sound like this.





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