Mendelssohn Hero or Has Been? Or Did Wagner Really Do It?

"For critics like Marx and Brendel, this task could only be fulfilled by a progressive art fully reconciled with the strivings of the age. Adolf Bernhard Marx, in a classic statement of this perspective in The Music of the Nineteenth Century and its Culture (1855), argued that 'enjoyment and a feeling of happiness are no criterions of progress; in art as in every other concern of the spirit, a higher perception is the only proof of advance'. [37] For both Marx and Brendel, Mendelssohn's music was inimical to this new aesthetic. On the contrary, it served as a symbol of the aspects of German musical culture that stood in the way of progress" Sinead Dempsey 2004

Our editor, finds a fascinating paper on the very different reception to Mendelssohn 's music in England and Germany. However, proceeds this with a long introduction that can be happily ignored. 

Unlike Wagner, I like Mendelssohn and so I was naturally drawn to the following paper "Hero or Has Been? Mendelssohn Reception in England and Germany in the 1840s" . It has now been long assumed that Mendelssohn's reputation was destroyed by Wagner. His attack upon Mendelssohn in Judaism in Music is especially vehement and there are a number of other reasons - apart from being Jewish - that it is thought Wagner set out to destroy Mendelssohn's reputation.  In an article written in 2009,  common of those "blaming" Wagner, Tom Service wrote:

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Photos: Melbourne Ring - Götterdämmerung

November 25

Siegfried Stefan Vinke
Gunther Barry Ryan
Alberich Warwick Fyfe
Hagen Daniel Sumegi
Brünnhilde Susan Bullock
Gutrune Sharon Prero
Waltraute Deborah Humble
Woglinde Lorina Gore
Wellgunde Jane Ede
Flosshilde Dominica Matthews
First Norn Elizabeth Campbell
Second Norn Jacqueline Dark
Third Norn Anke Höppner

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Trailer Die Frau Ohne Schatten - Bayerische Staatsoper

50 years ago, on 21 November 1963, the Bayerische Staatsoper’s main performance venue, the Munich National Theatre, which had been destroyed in the Second World War, opened its restored doors with the premiere of "Die Frau ohne Schatten". In 2013, the Bayerische Staatsoper has once again been starting off the season's new productions with this work by Richard Strauss.

Kirill Petrenko has been directing the Bayerisches Staatsorchester for the first time in his function as General Music Director of the Bayerische Staatsoper.

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Video: Panel Discussion Following Hilan Warshaw's "Wagner's Jews"

Panel discussion following screening of Hilan Warshaw's documentary "Wagner's Jews" organised by the Wagner Society of New York. Sept. 24, 2013. Thanks, yet again, to the Wagner Society Of New York

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Richard Wagner On His Desire For Perfumes,Silk, Colours & Snuff.

Caricature titled ‘Frou Frou Wagner’ published in
Der Floh, on 24 June 1877, showing journalist Daniel Spitzer
standing  on a cache of letters pricking Wagner, who is in deep
deliberation over bolts of silk and satin, with his
poison pen; reproduced in John Grand-Carteret’s
 Richard Wagner en caricatures, Paris, 1892

"R tells me about a young couple who committed suicide for love, and he adds, "This is still the main tragedy of life". We are diverted from these dismal thoughts by my remarking how pretty his room (blue grotto) is, and this leads us to his desire for colours, for perfumes, the latter having to be very strong, since he takes snuff. "Taking snuff is really my soul", he says very drolly. At the start he describes how gently glowing colours influence his mood, but later in the conversation denies any connection and says very emphatically, "These are weaknesses". CW: Jan 23 1883

4 days later:

"R told me his dream: wearing the mauve nightgown he has on now, he went with me into a box in the theatre; there people behaved improperly towards him, but he did not wish to show himself, though he could hardly avoid it, while I became very embarrassed, whereon he woke up." CW:  Jan 27 1883

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Melbourne Siegfried: First Images

November 22

Siegfried Stefan Vinke

Brünnhilde Susan Bullock

Erda Deborah Humble

Mime Graeme Macfarlane 

The Wanderer Terje Stensvold

Alberich Warwick Fyfe

Fafner Shane Lowrencev

Forest Bird Taryn Fiebig

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Wagner & Seinfeld: Die Meistersinger von Monk’s

Michael Teager

Michael Teager is an experienced performing musician, both as a leader and a sideman. Currently, Mike serves on the faculties for Michigan State University and Spring Arbor University. At MSU he is Instructor of Music for the Office of Study Abroad, teaching Music Appreciation each summer in Bregenz, Austria. At SAU he teaches Music History and he previously taught Music Appreciation.

Mike performs frequently throughout Michigan. Recordings can be found on Slo.Blor Media, Neighbor Neighbor LTD, ITAV Records and VagueTerrain.net. He can regularly be seen with Matt Borghi (often as Teag & PK), The Fencemen, and various other groups, and he writes for and manages MT-Headed Blog.

Convocation, his new album with Matt Borghi, can be found on iTunes, Amazon, eMusic, and Spotify.

Mike also likes Seinfeld. Oh and Wagner! In the following, article he examines parallels between Seinfeld and Wagner, specifically Die Meistersinger von Nürnberg. A parallel and link, which seems especially relevant given a rather famous, in some Wagner circles, episode of Seinfeld's co-creator, Larry David's own show, the genuinely excellent, "Curb Your Enthusiasm". But we will let Mike explain. Recommended.

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Britten Explains How Peter Grimes Rejects the Wagnerian theory of "permanent melody"

Britten's introduction to Peter Grimes
The composer wrote this introduction to his opera prior to its first performance at London's Sadler's Wells in 1945.

I am especially interested in the general architectural and formal problems of opera, and decided to reject the Wagnerian theory of "permanent melody" for the classical practice of separate numbers that crystallize and hold the emotion of a dramatic situation at chosen moments.

During the summer of 1941, while working in California, I came across a copy of The Listener containing an article about George Crabbe by E.M. Forster. I did not know any of the poems of Crabbe at that time, but reading about him gave such a feeling of nostalgia for Suffolk, where I have always lived, that I searched for a copy of his works, and made a beginning with The Borough.

[ … ]: It is easy to see how [Mr Forster's] excellent account of this "entirely English poet" evoked a longing for the realities of that grim and exciting seacoast around Aldeburgh.

Earlier in the year, I had written the music of Paul Bunyan, an operetta to a text by W.H. Auden, which was performed for a week at Columbia University, New York. The critics damned it unmercifully, but the public seemed to find something enjoyable in the performances. Despite the criticisms, I wanted to write some more works for the stage. The Borough - and particularly the story of Peter Grimes - provided a subject and a background from which Peter Pears and I began trying to construct the scenario of an opera. A few months later I was waiting on the East Coast for a passage back to England, when a performance of my Sinfonia da Requiem was given in Boston under Serge Koussevitsky [sic]. He asked why I had not written an opera. I explained that the construction of a scenario, discussions with a librettist, planning the musical architecture, composing preliminary sketches, and writing nearly a thousand pages of orchestra score, demanded a freedom from other work which was an economic impossibility for most young composers. Koussevitsky was interested in my project for an opera based on Crabbe, although I did not expect to have the opportunity of writing it for several years. Some weeks later we met again, when he told me that he had arranged for the commissioning of the opera, which was to be dedicated to the memory of his wife, who had recently died. On arrival in this country in April 1942 I outlined the rough plan to Montagu Slater, and asked him to undertake the libretto. Discussions, revisions, and corrections took nearly eighteen months. In January 1944 I began composing the music, and the score was completed in February 1945.

Continue Reading At: The Guardian 

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Review. Richard Wagner: The Lighter Side - Terry Quinn

Where would we be without 7000 page, 6 volume, explorations of whether, by completing volume 6 of Wagner's prose works (Religion and Art) on Christmas Day 1897, William Ashton Ellis was indicating, for those that understood,  that according to the secret rites of the 33rd degree of Freemasonry, Wagner was the new Messiah - and hence why Aleister Crowley ("The name is Crowley, it rhymes with Holy. It isn't Crowley, that rhymes with foully") included Wagner among the Gnostic Saints of his Gnostic Mass?  Or, what about that twelve volume set explaining the true meaning of Zum Raum wird hier die Zeit, linking it to the future novels of Barbara Cartland? Or, far, far more common,  works written by authors clearly trying to out Wagner, Wagner in the turgid prose/complete incomprehensibility department?   Well, personally I wouldn't be without them. This maybe due to some unconscious, masochistic tendencies,  it has to be admitted, but I shall leave such analysis to those many authors who interpret Wagner's work, from a Freudian/Jungian perspective ( I am still waiting for someone to interpret Wagner's work based on the work of B. F.Skinner upon his pigeons. Although, one should be careful what one wishes for in Wagner research). However, just occasionally one does feel that something a little "lighter" wouldn't go amiss. Something detailed perhaps, snappily but well written. Something one could just dip into when the occasion called, but actually contains the more than odd bit of information that even a Wagner" obsessive", such as I, might find for the first time. Oh! And well illustrated, that would be nice also.

And so we turn to Terry Quinn's Richard Wagner: The Lighter Side. Oddly, and despite what I have said above, and  even, having heard good things of Quinn among Wagner "circles" (the good kind of Wagner "Circle", not the kind that once existed at Bayreuth that even Wagner ran away from straight to Venice) I was not waiting on this book with any enthusiasm. Books based on trying to make Wagner "accessible" (which its title suggests it might) are rarely ever successful. Often condescending and almost always with forced "witt". However, Quinn's book is none of this things and instead, while accessible to the Wagner "neophyte", is aimed far more at anyone with a love and some knowledge of  Wagner or his work. Basically, a series of anecdotes and more detailed explorations of Wagner, his work, Wagnerians, anti-Wagnerians, artists and more, it is simply a "fun" read and as far as I  am aware, the first of its kind. The sample pages scattered around this review can probably provide a better idea of what to expect than any description. . 

I don't believe it is the sort of book that one would read from cover to cover - although one could. Instead, it works much better as a book that one dips into for a refreshing change from the heavier tombs already discussed

Is it perfect? Well, it lacks an  index, which is a sad omission and would have proven invaluable. Despite its style, it contains much information of more than simple entertainment value - and some very interesting photos and historical illustrations. As with what seems every book I have read about Wagner over the past few years,  it contains the odd typo. Dates seem to be a struggle on one or two occasions, leaving the less familiar confused one suspects. And like any book made up of, even detailed, "factoids" it occasionally suffers from, slight repetition. But in general this does not mar the book greatly and neither are these "sins" heavily repeated.

Overall, a fun and interesting book - not without depth. Clearly written by someone with a deep passion for Wagner, aided by a wide knowledge of his world - then and now. Highly recommended. 

That twelve volume set linking Parsifal to Barbara Cartland? If its published buy it too, but for sheer fun and entertainment buy Quinn's book. Or if you have any sense, and should it be something of which you partake, put it on your Christmas present list. Its the perfect book to read while everyone else is listening to the Queens Speech and later watching the newest Disney animated feature on TV.

WOE

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"Wagner's Jews": Trailer

 A review can be read over at Seen and Heard International

“This film brings to light new insights into this topic, and manages to be - for all its laconic brevity - incredibly complex. Hilan Warshaw is a musician, a violinist. Perhaps that is why he possesses this ability to work virtually polyphonically, pursuing many different voices and balancing contradictions, without once taking the floor himself at all.”

- Frankfurter Allgemeine Zeitung, May 19. 2013

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Theatre Freiburg's Parsifal & Tannhauser To Reach UK In 2014

As part of an event titled WagnerFest 2014, the Theatre Royal Norwich will host Theater Freiburg's production of Parsifal and their, yet premiered new production of Tannhauser. Details a little sketchy at present but more as they arrive. We are also awaiting a response from the Theatre Freiburg as to whether the productions will tour elsewhere in the UK. Details, so far below - including a video of Theatre Freiburg's Parsifal.


Parsifal Wed Jul 23 2014 - 5:00 PM
Parsifal Fri Jul 25 2014 - 5:00 PM
Tannhauser Sun Jul 27 2014 - 3:00 PM
Tannhauser Mon Jul 28 2014 - 5:00 PM

More Details: Theatre Royal Norwich

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The Ring, The Taxidermist and Richard Wagner

Reviewing the Melbourne Ring we could not help but notice the amount of "stuffed animals" that littered Valhalla. This brought to mind two thoughts: their meaning withing the production and whether they were real" - the subject of the taxidermist "art". The latter was as much concern as the first as it seemed - given Wagner's thoughts on vivisection and animal cruelty - he might not have approved if they were "real".  But the internet being what it is, a quick tweet by someone that we follow on twitter and an equally fast reply was received. We supply that below - for anyone curious - but first a few thoughts from Wagner.

"Recently, while I was in the street, my eye was caught by a poulterer's shop; I stared unthinkingly at his piled-up wares, neatly and appetizingly laid out, when I became aware of a man at the side busily plucking a hen, while another man was just putting his hand in a cage, where he seized a live hen and tore its head off. The hideous scream of the animal, and the pitiful, weaker sounds of complaint that it made while being overpowered transfixed my soul with horror. Ever since then I have been unable to rid myself of this impression, although I had experienced it often before. It is dreadful to see how our lives—which, on the whole, remain addicted to pleasure—rest upon such a bottomless pit of the cruellest misery! This has been so self-evident to me from the very beginning, and has become even more central to my thinking as my sensibility has increased ... I have observed the way in which I am drawn in the [direction of empathy for misery] with a force that inspires me with sympathy, and that everything touches me deeply only insofar as it arouses fellow-feeling in me, i.e. fellow-suffering. I see in this fellow-suffering the most salient feature of my moral being, and presumably it is this that is the well-spring of my art". RW: Human Beasts of Prey and Fellow-Suffering - Selected Letters of Richard Wagner. translated by Stewart Spencer and Barry Millington

"To these wise men the mystery of the world unveiled itself as a restless tearing into pieces, to be restored to restful unity by nothing save compassion. His pity for each breathing creature, determining his every action, redeemed the sage from all the ceaseless change of suffering existences, which he himself must pass until his last emancipation. Thus the pitiless was mourned by him for reason of his suffering, but most of all the beast, whose pain he saw without knowing it capable of redemption through pity. This wise man could but recognise that the reasonable being gains its highest happiness through free-willed suffering, which he therefore seeks with eagerness, and ardently embraces; whereas the beast but looks on pain, so absolute and useless to it, with dread and agonised rebellion. But still more to be deplored that wise man deemed the human being who consciously could torture animals and turn a deaf ear to their pain, for he knew that such a one was infinitely farther from redemption than the wild beast itself, which should rank in comparison as sinless as a saint." RW: Against Vivisection

Up to here, but alas! no further, can we trace the religious basis of our human forbears' sympathy with animals, and it seems that the march of civilization, by making him indifferent to "the God," turned man himself into a raging beast of prey. . . . [Now] our creed is: "Animals are useful; particularly if, trusting in our sanctuary, they yield themselves into our hands. Come let us therefore make of them what we deem good for human use; we have the right to martyr a thousand faithful dogs the whole day long, if we can thereby help one human creature to the cannibal well-being of five hundred swine." RW: Against Vivisection

"[To] the beasts, who have been our schoolmasters in all the arts by which we trapped and made them subject to us, man was superior in nothing save deceit and cunning, by no means in courage or bravery; for the animal will fight to its last breath, indifferent to wounds and death: "It knows nor plea nor prayer for mercy, no avowal of defeat." To base man's dignity upon his pride, compared with that of animals, would be mistaken; and our victory over them, their subjugation, we can only attribute to our greater art of dissembling. That art we highly boast of; we call it "reason" and proudly think it marks us from the animals: for look you! it can make us like to God himself—as to which, however, Mephistopheles has his private opinion, concluding that the only use man made of reason was "to be more bestial than any beast." RW: Human Beasts of Prey and Fellow-Suffering - Selected Letters of Richard Wagner. translated by Stewart Spencer and Barry Millington

Ring Cycle: Taxidermy artists help create larger-than-life set design
By Jennifer Williams, September 3, 2013

"We’re trying to create the illusion of taxidermy with fake animals that look real.”

Every director that takes on the Ring cycle has to be aware of the fact that Wagner’s epic has been interpreted and reinterpreted across the ages. From tattoos and fellatio in Bayreuth this year to the undulating “Wagner machine” from the Met’s 2010 production, Wagner’s four-opera epic has inspired hundreds of interpretations, each one bigger and better and more out there than the last.

For the Melbourne Ring Cycle, director Neil Armfield wasdetermined to take the opposite route. His Ring cycle harks back to the era of the natural scientist: at a time when fossils and insects captivated the public consciousness, and every man, woman and child spent their weekends fossicking for rocks and capturing butterflies.

“If you want genuine taxidermy, you find a dead animal, and you taxidermy it. What we’re doing here is more unusual,” Edmonds explains. “We’re trying to create the illusion of taxidermy with fake animals that look real.”

And the King of the Gods? A taxidermy enthusiast, naturally. In Opera Australia’s first Ring cycle, the powerful Wotan has a taxidermy collection that would put the Australian Museum to shame.

Beasts of land and air converge in his kingdom, frozen in time, impossibly lifelike in death.

The “taxidermy” project began nearly 12 months ago. Designer Robert Cousins worked together with the Opera Australia workshop on a painstaking research and development process, designing and sourcing animal forms. Some were sculpted from scratch by workshop artists, others were ordered directly from specialists in the United States. In Das Rheingold, the animals must fly – so the workshop staff had to take the lightweight forms and add counterweights and reinforcements.

The sheer scale of the Ring cycle has stretched the resources of the workshop department, so the team called in the help of prop-builders and costumiers Marea Fowler and Brian Edmonds in creating a series of mammals. Fowler is a costumier with a very specialist talent: creating anatomically accurate life-size animal forms.

It’s a less gruesome talent than actual taxidermy, as Edmonds explains. “If you want genuine taxidermy, you find a dead animal, and you taxidermy it. What we’re doing here is more unusual,” Edmonds explains. “We’re trying to create the illusion of taxidermy with fake animals that look real.

Continue Reading

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Images & Video: Melbourne Die Walküre

Arts Centre Melbourne, November 20. Photos: Jeff Busby.

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Looking Back at 2013 - Part 1: Good Wagnerians And Bad Wagnerians

 First in a series of articles looking back on 2013

This year has been somewhat of an exhausting one for me. Now, of course, one might expect that to be the case in Wagner's bicentenary year, where we have been "flooded" with Wagner productions, recordings, books, papers, documents, etc. But this is not the case for someone who spends as much time with the old mystic, revolutionary, anarchist as I do - even if I did need to take the odd, extended, break to spend time with Strauss, Mahler, Schoenberg, Weber, Bloch and a number of other 20th century composers who occupy a significant amount of my "classical music" time. No, what exhausted me most were two things: ever present media references to Wagner as "Hitler's favourite composer" (he wasn't - although Hitler certainly used the perverted influence of the "Bayreuth Circle" to progress his own agenda) and even more so, to being informed with certainty in documentary after documentary - especially in the UK where this has become an especially prevalent obsession this year - that Wagner's works are littered with negative Jewish stereotypes; with everyone from Kundry to Klingsor, Mime to Alberich and Beckmesser, to even Wotan. being deconstructed - and possibly reconstructed - to support this argument.

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Should We Really Fund Wagner?

Published in Performing Arts Hub. As Opera Australia mount their $20 million Ring cycle Julian Meryrick asks can we defend such funding for just one work - or indeed any work

Should we fund Wagner operas or Kyle Sandilands statues?

Julian Meryrick 

In an age of user-generated content and zombie walks, it’s hard to defend opera’s pre-eminence.

The cultural dollar is tight. Why spend taxpayers’ money on mounting Wagner operas rather than – say – erecting a mile-high statue of Kyle Sandilands on the moon warning alien civilisations what to expect should they approach further?

The list of things considered culture is endless. Once dance, drama, ballet and opera ruled the performing arts roost. But now, in an age of user-generated content and zombie walks, it’s hard to defend opera’s pre-eminence. Should we even try?

Isn’t everyone’s taste equally valid? You like Berlioz; I prefer boot-scooting. Why should one be thought better than the other, or attract public support to perpetuate its privileged status?

Wagner is expensive even by opera’s standards, and the Ring Cycle, is expensive even by Wagnerian ones.

The production reportedly cost Opera Australia A$20 million to stage.

It’s pricey for audiences too – it costs A$1000-2000 to attend four consecutive nights of The Ring Cycle). It’s the sort of signature event that has opera buffs audibly panting and others muttering about the cost of it all.

To spend or not to spend?

The free market works, at least in theory, by striking a balance between the supply of something (s) and its demand (d). A good (x) is provided to consumers by producers, who vary in number depending on the level of profit that can be made.

Fixing the relationship between (s) and (d) is the index finger of Scottish philosopherAdam Smith’s 'invisible hand', the price mechanism (p).

Here is the source of all political objections to supply-side subsidy, be it for the car industry or for installation art: it queers (p), throwing out the delicate calibration between those who can provide a good and those willing to pay for it.

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Review: Wagner, His Life and Music - Stephen Johnson.

"For me, it was the experience of hearing Parsifal again in the legendary Hans Knappertsbuch recording that made me realise how important it is to identify the best in Wagner, and to show how it transcends and diminishes the worst". Stephen Johnson. 

Its an odd thing, but, in this bicentennial year, while there has been no shortage of books about Wagner, his work, his ideas, his influence or his family  - and they continue to arrive monthly - there has been a distinct shortage of straightforward biographies. So far, we have only been able to note Ray Furness', Richard Wagner (Critical Lives), a biography worth your attention, if only slightly marred by its uncritical approach to Wagner and his thoughts while sadly giving no attention to those that surrounded him. Perhaps writers feel that everything that can be said in a straightforward biography has been said? The trouble with this is, if we accept it as true - and I doubt it - most of these biographies are no longer available in English or are hard to find. Apart from the short guides, the only other biography of any note in recent years is Kohler's "Last Of The Titans - and that is greatly spoilt by a set of value judgements that are not only singly idiosyncratic but which Kohler no longer seems to maintain.  It came as same surprise then, to find that we had missed perhaps one of the better biographies for many years. And not just a biography but an accompanying four hours of Wagner's music, introduced with contextual, character and musical analysis.

Stephen Johnson's Wagner:His Life and Music  from Naxos Books is available in three formats: a  paperback book with two accompanying CDs of Wagner's Music, an electronic book for ebook readers without CDs and as a 9 hour or so audiobook. While not normally a "fan" of audiobooks - I struggle to concentrate with the things normally and prefer the written word - 4 hours of musical analysis (detailed in the case of Wagner's dramas) with extended full samples seemed simply too good an opportunity to pass-by and I thus, thankfully, put aside my usual reservations - although I have now also bought the accompanying ebook. 

Music journalist and presenter for Radio 3's Discovering Music, Stephen Johnson' is no stranger to Wagner or indeed producing intelligent introductions to his work. For Naxos he has already produced a series of audio introductions to  the Ring, Tristan and the Dutchman. These introductions have been both intelligent, insightful and not without wit - and he brings all of these qualities to this latest work. While a clear, enthusiastic and sympathetic commentator on Wagner and his work, he does not treat Wagner with the reverence that can lessen some biographies but neither does he stress above all else, the less pleasant sides of Wagner's personality - as far too many others do.  As he says in the preface,

"For me, it was the experience of hearing Parsifal again in the legendary Hans Knappertsbuch recording that made me realise how important it is to identify the best in Wagner, and to show how it transcends and diminishes the worst. There maybe - as some have argued - sinister racial overtones behind the image of the holy blood invoked in Parsifal, but most modern listeners have to be told the message is there to recognise it: Wagner never made it explicit. More to the point, it surely pales besides the wonderful elevation of compassion as the power that not only outfaces evil but offers integration and enlightenment to the divided modern soul. For most listeners, the opera's roots in Christian and Buddhist notions of self-transcendence eclipse whatever the libretto may or may not owe to nineteenth-century racial theories such as the once famous Count Gobineau. All this is only served and strengthened by the ingenuity and heartrending beauty of Wagner's music."

And this is a philosophy that is maintained throughout the book or 9 hours of audio. The main features, events, philosophies and influences on Wagner's life can be found herein. Wagner's work is placed firmly in the social, political and philosophical milieu of his time and Johnson manages to include facts, on occasion , that might be unfamiliar to even those with more than a "working knowledge" of Wagner. At the same there is a level of analysis and sophistication that is surprising for a book that one assumes is aimed at the neophyte.

More to the point, it surely pales besides the wonderful elevation of compassion as the power that not only outfaces evil but offers integration and enlightenment to the divided modern soul

It is certain that Johnson has kept up to date on much, if not all, of the recent literature around Wagner and anyone new or coming to Wagner will find much material here unfamiliar yet presented in a manner that makes it easily comprehensible and more importantly "balanced". Together with the audio introduction to Wagner's music, synopsis, background and analysis, this provides one of the best, and most intelligent, introductions to Wagner and his music in some-time. And it is not only the Wagner "neophyte" that will have much to enjoy here  as those with great familiarity with his work will also enjoy much here. Add to this, Johnson's lively narrative style (see sample below) and this is a set that would be hard not to recommend.

Note: We would not normally mention any particular retail outlet - except perhaps none profits or very specialised ones. And we have to say that Audible, being part of Amazon, is certainly anything if not commercial. However, readers maybe interested to note that they can  download the full audio book, as part of a free trial of Audible's membership. And should you just want this audiobook then you can cancel your subscription and the book remains yours. Google Audible and you will be directed to your countries local site. Otherwise, a quick search online should find a copy in the retail outlet of your choice.

One other thing, in the introduction Johnson notes that many people are only familiar with Wagner through the use of "Ride of the Valkyries" in Kubrick's "Apocalypse Now . The film nerd in me could not let it go by without saying that, that  landmark and exceptional film was actually directed by Francis Ford Coppola!

For further information on the audiobook

For further information on the book

For further information on the ebook 

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Melbourne Ring: First Extend Video Trailers

Care of Limelight Magazine - where a review can be found.

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First Images Of The Melbourne Ring

The Melbourne Ring Cycle 2013 - Das Rheingold. November 18 2013. More: Melbourne Ring  Click any image to enter full sized gallery.

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New Wagner Book: Tristan's Shadow - Adrian Daub

All details below are those supplied by the publisher - hence all the "revering and reviling". Expect a review - at some stage. Due to be released Nov 25

Tristan's Shadow: SEXUALITY AND THE TOTAL WORK OF ART AFTER WAGNER
ADRIAN DAUB

Das Rheingold, Die Walküre, and Siegfried.Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept ofGesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference.

Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.

Reviews

Ryan Minor | author of Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany
“Tristan’s Shadow is an important, highly intelligent, and ambitious study. Rigorously researched, blissfully unencumbered by canonical narratives, and written with Adrian Daub’s signature verve, this book provides a new, and entirely compelling, account of German opera after Wagner. It will undoubtedly become standard reading in musicology and opera studies, in German studies and comparative literature, and in the history of sexuality.”

Mary Ann Smart, University of California, Berkeley
“Boldly taking Wagnerism far beyond the usual suspects, Adrian Daub shows that the influence of Tristan didn't end with chromaticism or even with metaphysics. In a brilliant flash of insight, Daub perceives that the opera’s eroticism is entwined with its dramatic aesthetics in ways that haunted and inspired later composers. Better than any recent book I can think of, this lucid and imaginative study shows why Wagner mattered—and continues to matter—enormously.”

Lawrence Kramer, author of Interpreting Music
“In Tristan’s Shadow Adrian Daub does nothing less than rethink from the ground up the problem that Wagner's legacy posed for German opera composers through the first half of the twentieth century. Wagner himself emerges in a fresh light as Daub uncovers the surprisingly close connections between the erotics of Wagnerian opera and the idea of the Gesamtkunstwerk. The mixture, both intoxicating and toxic, sets goals for subsequent German opera that, as Daub shows in a series of richly textured readings, could neither be achieved nor evaded. Anyone still struggling with Wagner (and who, in the opera world, is not?) will find this book rewarding.”

Jeremy Tambling, author of Opera and the Culture of Fascism
“Tristan’s Shadow maps sexuality onto Wagner’s concept of the total work of art, in order to show how the Gesamtkunstwerk must take account of the body and the sexual. Through exciting readings of Strauss, Schreker, d’Albert and Siegfried Wagner and Kurt Weill, Adrian Daub shows opera to be attuned to—and discordant with—ugliness, sexual dissidence, crises of masculinity and decadence: he reads German post-Wagnerian opera as though it was an index to the cultural crises that produced Hitler’s Reich.”

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Audio: Wagner: Making a National Hero

Part Of Radio 4's Wagner week from earlier this year.

Stephen Johnson explores the worlds of Wagner's heroes and how his Tannhauser, Lohengrin, Siegfried and Parsifal were created from a particularly Wagnerian concoction of ancient Norse legends, medieval German myths and current political thinking at the dawn of Bismark's Germany. He finds out how Wagner himself became a different sort of national hero through the efforts of Cosima, his zealously loyal widow, and then through misinterpretations of his writings about nationalism by the Third Reich.

Stephen talks to conductor Donald Runnicles, Wagner experts Barry Millington and Barbara Eichner, writer and opera director Adrian Mourby, Ring expert Edward Haymes, and Cosima's biographer Oliver Hilmes.

To Listen Click Here (Running Time: 46 minutes)

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Video: Wagner And Anti-Semitism

The question of 19th century German composer Richard Wagner's personal and musical anti-Semitism became a topic of enormous controversy during and after World War II, when Wagner's children welcomed Hitler to Bayreuth, the scene of the annual Wagnerian opera festival. Arguments about this question, however, often seem to deadlock in rival claims of "bad man" and "great music." This panel will attempt to expand the discussion by focusing on the following issues: what does Wagner actually say in his infamous essay, "Jewishness in Music"? Moreover, how do contemporary productions of Wagner's operas reflect or deflect the question of anti-Semitism in his works. Join Leon Botstein (President of Bard College and music director and principal conductor of the American Symphony Orchestra), David J. Levin (University of Chicago), Kenneth Reinhard (UCLA), and Marc A. Weiner (author of Richard Wagner and the Anti-Semitic Imagination and Professor of Germanic Studies at Indiana University) in a discussion of composer Richard Wagner, his politics and his music. (Run Time: 1 hour, 50 min.)

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It Ain't Over Till...Met To Revive Lepage Ring

Despite rumors to the contrary, it seems that Lepage's "machine" will return to the MET at least once more - albeit in five years time - during the 2018-19 season. No cast details yet except for Brünnhilde who will this time be played by Christine Goerke.

Said Peter Gleb of his choice of Goerke for the role. “After she sang in ‘Frau’ the other night, it just made me realize that we’d better invite her sooner rather than later, because I don’t want anybody else stealing her from us.”

And of the machine? Gleb announced that while some critics disliked it he felt that a significant number of members of the public did. Although he did suggest that "the machine" would be getting something of a fine tuning

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Mariinsky Ring Cycle Returns To UK In 2014

Last seen in the UK at Covent Garden in 2009 (Ed: Although perhaps not to universal acclaim) the Gergiev/Tsypin Ring is to return to these shores in 2014. This time making its premiere in Birmingham.

As expected, Gergiev will conduct. No casting as of yet but one cycle will run from Wednesday 5 - Sunday 9 November, at the Birmingham Hippodrome (normally home to the magnificent Welsh National Opera when they venture so far from the border) A full cycle will cost you from £252 up to £756. A brochure, with full details can be read or downloaded here . Photos below plus a brief video - for the curious.

More Here

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Read Now: Wagner And His Isolde

Venice, December 22, 1858.

" An exquisite morning, my dear child ! Three days I had been at the passage, " Whom you embraced, whom you have smiled upon," etc. There was a long check to my inspiration, and, in trying to compose the passage, I could not recall just how I had planned it. I was upset; I could not con- tinue. A little goblin knocked at my door and appeared to me disguised as the lovely Muse. In a moment the problem was solved. I went to the piano and wrote out the passage as rapidly as if I had it by heart. Whoever listens to it critically will discover something familiar in it. " Dreams " haunts it. But you will forgive that, dearest! No, do not repent having loved me ! It is heavenly !"

The abridged letters between Wagner and Mathilde Wesendonck, translated by Gustav Kobbe. If you have never read these fascinating letters this might be a good place to start.

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Read: Carl Friedrich Glasenapp's 6 Volume "Life Of Richard Wagner"

The first major Wagner Biography, Glasenapp's 6 volume Life Of Richard Wagner may no longer be considered the most reliable review of Wagner's life but it is at least of historical interest - even if translated by the idiosyncratic Ellis.

Volume one below. Follow the links to read the other five volumes:

Volume 2

Volume 3

Volume 4

Volume 5

Volume 6

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Jerusalem Symphony Orchestra Perform Wagner Concert But With No Wagner

Theodor Herzl.: Founder Of Zionism &; Wagnerian

The playing of Wagner's music in Israel is of course not "banned" - at least officially. But it it is nearly impossible for anyone there to attempt a public performance of his work - as was reconfirmed last year when the Wagner Society of Israel tried to do such a thing. How then, might the Jerusalem Symphony Orchestra note Wagner 200? It seems, that the only way to do so is to stage a concert program named, "The Case: Wagner" that will simply play none of Wagner's music. Instead, they will play work by both those thought to have influenced him and been influenced him. This will include: Nietzsche (Nietzsche as the composer, not Nietzsche as highly misogynistic philosopher), Weber, Halévy, Beethoven, Marchner and Liszt- Chausson, Richard Strauss, Schoenberg and Mahler.

Surrounding this, will be an analysis of Wagner's writings, thoughts and music (if not performed) - all within the context of his times. It will conclude by debating whether the boycott is right to continue - or not.

Details:

The Case WAGNER
Wed, 18 December 20:00 | THe Henry Crown Hall, Jerusalem
A program combining lectures and concerts featuring pre- and post-Wagnerian composers, including compositions byNietzsche, Weber, Halévy, Marschner, Liszt (pre-Wagner),Chausson, Richard Strauss, Schönberg and Mahler (post-Wagner)

Frédéric Chaslin, conductor
Efrat Ashkenazi, soprano
Shiri Hershkovitz, soprano

Beethoven - Leonore: Overture
Halevi - La Juive: Duet of Rachel and Eudoxie
Weber - Der Freischütz: Overture
Marchner - Der Vampire: Overture
Ernst Reyer - Sigurd: Overture
Debussy - Pelleas et Melisande (arr.: Marius Constant)
Chausson - Symphony in B Flat minor: 3rd Movement

More at: Jerusalem Symphony Orchestra

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The Life and Works of Richard Wagner: The Barbican - 30 November

The Life and Works of Richard Wagner (PG*)

4pm / With live piano accompaniment by Jean Hasse30 November 2013 / 16:00

Cinema 1 (Silk St)

Tickets:

Barbican Members - £9.20

Standard - £11.50

Concessions - £10.50

Under 18 - £6

With live piano accompaniment by Jean Hasse.

A very special screening of the first feature length film to be made about the life of Richard Wagner. Produced by Oskar Messter in Berlin in 1913, this silent landmark features Italian composer Giuseppe Becce as Wagner, together with Olga Engl and Miriam Horwitz.

Germany 1913 Dir Carl Froelich and William Wauer 96 min

Newly restored print with English surtitles. Restored by EYE and from the EYE/Desmet Collection.

With special thanks to EYE Film Institute Netherlands.

In association with Wagner 200. 

More: The Barbican

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New Walkure Production: Verismo Opera, CA

Having begun their projected Ring cycle in 2011 with Rheingold, VO turn to Die Walkure, with a new production opening on November 16, 2013. Verismo Opera, for the uninitiated,  tries to make opera accessible to the public at reasonable prices through a community effort of professional musicians and singers. The performances are thus in places one would not expect to find Wagner, in particular, performed. Images from 2011's Rheingold can be found below.

This production is also unusual in that Sieglinde is performed by a artist known both for opera but perhaps more so as an R&B performer:  N'Kenge - presently appearing in "Motown: The Musical", on Broadway.

Performances at the Bay Terrace Theater (with Mira Theatre Guild), 51 Daniels Avenue, Vallejo, CA 94590

November 16 (Saturday 6:00pm)

November 17 (Sunday 1:00pm)

November 23 (Saturday 6:00pm)

November 24 (Sunday 1:00pm

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Why Twitter Considers "The Wagnerian" "Dangerous"

Update: And we are officially no longer "dangerous" (ED: Not too sure how I feel about that). Tweeting from here no longer provides a warning by Twitter stating that we are either"spammy" (sic) or "unsafe". It only took nearly a day and a half mind. And twitters response? In an email we were told:

"Hello,

The URL you reported does not appear to be blocked. I'm able to use this URL in a Tweet or profile without any errors. Please double-check that the URL you reported as being blocked is correct.

Let me know if I can help you with anything else."

Which would have made us feel as if we getting rather paranoid apart from the many emails that we received confirming others could not tweet from here or received the "danger" warning. We would continue to chase this up but frankly grew rather exasperated by trying to get it rectified in the first place. So, at least for now, normal service returns as normal. Oh, one thing though, if you attempt to contact twitter, twitter support, or either of its senior executive team by Twitter, don't bother. It seems none of them actually read their twitters. Somewhat appropriate oddly enough. 

Finally, once again, let us thank all of those who twittered at or contacted twitter on our behave. It was very much appreciated indeed

Our editor explains that while the thought of being considered "dangerous" might be flattering, it is not always appreciated. 

For over 24 hours readers have been unable to tweet any articles from this site. On attempting to do so, they are meet with a message from Twitter informing them that www.the-wagnerian.com is a "dangerous and unsafe site". Oddly, this is the second time that a Wagner related site has been banned by Twitter. It was only a few weeks ago, noted Wagner scholar and author, Mark Berry's twitter account was removed completely by Twitter. Now happily reinstated, it appeared to be another of Twitter's automated systems "blunders"

Now I have to admit that during the course of history, many critics did indeed consider Wagner's music both "dangerous" and even"scandalous" -  and as much as I am sure it might in someway please RW's sense of humour -  we like to think that while somewhat "idiosyncratic" we are far from "dangerous"

With this in mind, we fired off an email to Twitter and received the following, edited, reply:

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Audio: An Introduction To The Ring (60 minutes)

Broadcast two days ago and made available by ABC Radio's "The Music Show. A fine introduction to the Ring cycle from Heath Lees whose 4-part documentary series- Wagner's Ring- A Tale Told in Music is available on DVD.

CLICK HERE TO LAUNCH PLAYER

Emeritus Professor of Music Heath Lees, from the University of Auckland, is also a musicologist and broadcaster, and the founder of the Wagner Society of New Zealand. And he’s giving the pre-concert talks to each audience of The Ring for each of the 3 cycles coming up in Melbourne.

For more information on this broadcast or to download the full program as a podcast click here

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Stefan Herheim,/Salzburg Meistersinger To Get DVD Release In 2014

In a rather unusual turn of events - at least in regard to productions of Wagner's work - it seems everyone liked the Stefan Herheim directed Salzburg Die Meistersinger von Nürnberg. So we assume most will be pleased to know that it will receive a confirmed a release on DVD  sometime in 2014 as part of a series called "Festival Documents".

It would thus appear, that Salzburg can do what Bayreuth seems unable - broadcast  a Stefan Herheim production of one of Wagner's works and then get agreement to release it on DVD.

Trailer below.

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Trailer: Parsifal, Lyric Opera of Chicago

November 9, 2013

Parsifal

Richard Wagner

Cast:

Parsifal: Paul Groves

Kundry: Daveda Karanas

Amfortas: Thomas Hampson

Gurnemanz: Kwangchul Youn

Klingsor: Tómas Tómasson

Titurel: Rúni Brattaberg

First Knight: John Irvin

Second Knight: Richard Ollarsaba

Flowermaidens: Emily Birsan, J’nai Bridges, Tracy Cantin, Kiri Deonarine, Angela Mannino, Laura Wilde

Lyric Opera Chorus & Orchestra

Conductor: Sir Andrew Davis

Director: John Caird

Chorus Master: Michael Black

New Lyric Opera production

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Wagner Thought For The Week

While listening  to some of the Wagner experts discuss their subject during "The Wagner Files" documentary, we were reminded of the following from the introduction to Dieter Borchmeyer's Drama and the World of Richard Wagner:

"Even the most serious writers on Wagner - mainly in Germany but increasingly in the Anglo-Saxon world - seem incapable of treating the object of their attention with the same degree of calmness and composure that other writers bring to bear on comparable subjects. Few who write on Mozart or Beethoven, Goethe or Thomas Mann, feel obliged to to begin by apologising or announcing a polemical intent. With Wagner, by contrast, this is almost always the case. Writers who grapple the subject feel that they have to take a particular line, defending or attacking Wagner, apologising for adopting a positive stance, or engaging in breast beating polemics in an attempt to demonstrate to the world their moral and intellectual integrity". Dieter Borchmeyer: Drama and the World of Richard Wagner, Trans: Daphane Ellis, pp viii (2003)

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Wagner related Free Ebook: Goethe "Faust" (ENG)

October 23, 1870

"In the evening Don Juan. Comparing Byron with Goethe and Schiller, R says: "Everything in the lords work is too violent, his work gives off a dry glow, for heat he certainly has. Our poets, just as clearly conscious of the hollowness and wickedness of the world, seek their salvation in other ways. And Goethe handles satire much more powerfully in his Mephisto. Byron is no good at drama, he can describe, but he cannot depict"

Cosima Wagner: Diaries

Complete. Translated by Bayard Taylor and illustrated by Harry Clarke. in what are surely the most extraordinary illustrations from Faust ever put to paper.

Available to read online or to download as Epub, Kindle or as a PDF. Click here to read or download

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The Wagner Files Documentary: Now available In English

A few weeks ago we reviewed "The Wagner Files", a German produced Ipad/Iphone app that had just been translated into English. At the time this was part of a "cross-media" project that also included a print graphic novel and a 96 minute docudrama of the same name. That docudrama has now been translated into English - details below. Available internationally on Itunes to rent or buy. A review will follow shortly.

The Wagner Files (Winner: Best Documentary" at Montreal World Film Festival)

A film by Ralf Pleger

Starring Samuel Finzi and Pegah Ferydoni

In co-production with SWR/arte
Part of the TV-series "The Culture Files", a format by Christian Beetz
Format development by Medienboard Berlin-Brandenburg
Production funded by Mitteldeutsche Medienförderung and MEDIA

“The Wagner Files” is an innovative and dynamic fusion of music documentary, fictional film and animated cartoon. It critically introduces the life and musical creativity of one of the most famous – and arguably most controversial – German composers in a way that has never been done before. High quality, thought-provoking fictional scenes trace the complex and scandalous relationship between Richard Wagner (Samuel Finzi) and his second wife Cosima (Pegah Ferydoni). The scenes are shot in a modern setting, orchestrated with, and impassioned by, Wagner’s music, referring to classical Hollywood melodramas as direct successors of Wagner’s “Gesamtkunstwerk”.

Marking the anniversary of Wagner’s 200th birthday in 2013, the film explores the visionary opus and arguable spirit of Richard Wagner, rediscovering the composer anew for a wide and varied audience.

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Review: Das Rheingold - Valery Gergiev, Marjinsky Label

Wagner: Das Rheingold

René Pape, Wotan
Nikolai Putilin, Alberich
Stephan Rügamer, Loge
Ekaterina Gubanova, Fricka
Andrei Popov, Mime
Alexei Markov, Donner
Sergei Semishkur, Froh
Viktoria Yastrebova, Freia
Zlata Bulycheva, Erda
Evgeny Nikitin, Fasolt
Mikhail Petrenko, Fafner
Zhanna Dombrovskaya, Woglinde
Irina Vasilieva, Wellgunde
Ekaterina Sergeeva, Floßhilde
Mariinsky Orchestra
Valery Gergiev

DSD recording, Mariinsky Concert Hall , St
Petersburg, June 2010, February, April & June
2012

It's official, Valery Gergiev is the most inconsistent conductor of prominence today. Now, it is common for less prominent conductors, and especially those starting out, to show a wide inconstancy in how they approach works. This is indeed the time when they are learning their "own voice". However - for the few that do - by the time they reach the level of "fame" of a Gergiev, their approach is normally close to crystallized. There are great differences between say, Levine or Karajan's early and latter styles and even Sergiu Celibidache - who grow more "Zen like" as he incorporated more and more notions such as Ichi-go ichi-e into his performances in latter years - but by the time they reach world prominence, their recordings and performances are clearly signed with their own individuality. It is easy to spot a Solti, or Karajan, a Rattle or Barenboim Walkúre for example. But Gergiev? For long I had thought that his performances lacked a certain "unique" voice or indeed a consistent level of quality. Sometimes I love his readings - his Parsifal for example - and other times his readings either leave me unmoved and on a few occasions simply numb. And so we turn to his Rheingold for the Marjinsky label - the second release in his new Ring cycle.

Regular readers will be aware I disliked the first release - perversely Die Walküre -  immensely. It is honestly one of the most disappointing Wagner recordings of the last 70 years or so. This is exasperated by a cast that should never have allowed it to be. Looking back, I made all sorts of Freudian claims about it: saying it lacked: "...muscle, energy, excitement; while remaining limp, flaccid..." and on it went. I have returned to it a few times since and while I am no longer as "horrified" by it I was, it is still a sadly uninspired and worst of all "sterile" recording. Yes, the notes are all there, in the right order and it it is well sung enough, but it is just so "boring" - and this is from someone who likes Goodall and Celibidache.

So what are we do make of Rheingold? Well, it is as though it was conducted by a different person. This Rheingold consists of all the excitement, drama and forward momentum that was so much missing in Walkure. It is extraordinary, as if Gergiev had stepped down and Karl Böhm had been resurrected, given vast quantities of amphetamines and let lose. And this is reflected in the performances, especially that of Rene Pape's Wotan. What was previously simply "good singing" has now blossomed into a believable characterization of Wagner's often complex, if ultimately self doomed, god.

The cast is uniformly good, with special mention going to the Rheindaughters of Zhanna Dombrovskaya, Irina Vasilieva, Ekaterina Sergeeva and Ekaterina Gubanova's Fricka. Yes, there are the odd diction "problems" with some cast members, but this is forgivable in one of the best Rheingold casts in many a year. Even the Mariinsky Orchestra., who disappointed me in Walkúre, seem to have pulled themselves together from sounding like a rag tag group of session musicians into a generally unified whole.

However, this does not mean that this is a perfect recording. There are two problems with it for me. First tempo: while certainly inconstant, it generally favours fast pacing. Indeed, this maybe the shortest Rheingold ever recorded,. So much so, that on the odd, rare, occasion, individual members of the orchestra seem to struggle to "keep up". This means it lacks a certain "majesty" or "transcendencey" that is found in the best performances. This is especially noticeable in the opening, where "consciousness" doesn't so much rise from the depths of "unthinking", as it smashes through the doors with a battering ram. If you are one of those that dislike Böhm's "faster pacing" (never as fast as people think. Check the lengths of the recordings of each act) then this will simply horrify you. I like it, but am unsure that after enough listens it may simply leave me exhausted. It is far from a "subtle" reading. But it is so different from other recording that this is far from a bad thing - I think. There are so many similarly paced recordings of Rheingold - and a few very slowly paced - that there is room for this type of reading. Or at least as long as you own more than one version.

My second issue however, may prove to be the most problematic. Despite its very differing "styles"(sometimes changing, in the case of Siegfried, from one act to another) the Ring remains a very unified work. Given the difference in style between Walkure and Rheingold will we end up with a Ring cycle or simply four very different "operas" that continue one story? Perhaps after all, Gergiev, has an overall plan? I doubt it, based on past experience, and my greatest fear, having heard Gergiev's two works in the cycle so far, is that he simply "doesn't get it", that he simply does not understand how unified these four works are. We will know by the end of 2014 - I have been wrong before. But for now, I would heartily recommend this Rheingold.

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