Wagneriana Fall 2012/Winter 2013 Volume 9, Number 4

Das Einz’ge nur, nach dem ich brenne, Ich find’ es nicht; mein Heimatland!

—— Der fliegende Holländer From the President

The fall brought three equally wonderful events in close succession. We were fortunate to host the supremely talented dramaturg Cori Ellison, who frequently appears on the Metropolitan Opera’s Quiz Show. Ms. Ellison highlighted many little-known facts about Brünnhilde and her mythic origins. The following In This Issue week the excellent Wagnerian conductor and pianist Asher Fisch presented ■■ Die Walküre 2 a fascinating lecture on Wagner and Liszt’s close and fruitful collaboration. ■■ Wagner and Maestro Fisch also performed many of Liszt’s piano transcriptions of Wagner’s Buddha: Legend operas. His playing was gorgeous and lush. And on October 16 the world- versus History in renowned Wagnerian soprano Jane Eaglen honored us with a question-and- Die Sieger 5 answer session masterminded by WGBH Radio host Ron Della Chiesa. We ■■ Der Ring des couldn’t have asked for a better lineup of programs! For photos, see page 16. Nibelungen 10 The bicentennial year will bring us many other exciting events. The

■■ That Old Black distinguished Wagnerian scholar Barry Millington will give a talk on March 17 Magic 13 and sign copies of his recently published book The Sorcerer of Bayreuth (Oxford University Press). On April 13 Jeannie Williams, the author of Jon Vickers: ■■ Upcoming Events, A Hero’s Life and one of the founders of USA Today, will present her exhibit 2013 15 on Jon Vickers in a PowerPoint demonstration. For more information on this ■■ Fall 2012 presentation, go to http://www.jonvickers.org/aboutus.html. On May 11 bass- Events 16 baritone Greer Grimsley, soprano Joanna Porackova, contralto Marion Dry, and pianist Jeffrey Brody will regale us with live Wagnerian music, followed by a question-and-answer session. We may add other events. In addition to these activities of the Society, we look forward with anticipation to the Boston Lyric

Opera’s new production, opening on April 26, 2013, of Der fliegende Holländer. This issue of Wagneriana inaugurates a new design by Susan Robertson, a graphic artist and a new board member. This issue was edited by Donald Rosenthal, member of the newly formed advisory committee.

—— Dalia Geffen Review sufficient, and above all, he sounded strong and fresh. Problematic low notes in Act 2 were handled well and Die Walküre he was clearly audible from my Row 3 seat. Vogt’s Sieg- Munich — March 15, 2012 mund is at once lyrical and powerful, touching in its with Klaus Florian Vogt as Siegmund emotional depth; every note was beautifully sung and enunciated. The “Winterstürme” scene, unlike many The stage curtain opens shortly after the prelude productions I have seen before with the tenor stand- begins. There is a figure of Siegmund, his head partly ing alone in the back of the stage, was conceived as an covered by a hood, with a sword and shield, surround- intimate talk between the twins in front of the stage, ed by a group of men. Several times the men converge with Siegmund and Sieglinde holding onto each other on Siegmund with their weapons, and several times he and with a group of young women illuminating them fights them off. This is all elegantly choreographed (it from above with some kind of lighting devices attached was not so elegant in July 2012, probably due to lack of to their fingers. rehearsal time for Vogt). Finally, Siegmund breaks free There are many interesting and sometimes rather and stumbles alone to the foreground. In the back- distracting directorial touches. The lights on the wom- ground appears a scene filled with young women in en’s hands; the way a growing mutual attraction of the simple white dresses, two long tables on each side of the twins is illustrated as they exchange a cup of drinks; stage, both topped with food, and in the center of the the two never touch each other nor even approach stage a large tree with dead bodies like rag dolls hang- one another initially. They stand facing each other on ing from its branches. In the back of the stage are two opposite sides of the stage with their arms extended beds with men being treated as in hospital. towards each other. Sieglinde offers a cup in her hand, As much as I admired and enjoyed Klaus Florian one of the women scurries to get it and runs across Vogt in my previous hearings of such Wagnerian roles the stage to hand it to Siegmund. He drinks from the as Lohengrin, Walther, and Parsifal, I had misgivings cup, the cup is returned to Sieglinde in the same way. about his taking up Siegmund - the role sits low for a As the orchestra plays to show their growing intimacy, tenor, and Vogt’s low notes are not his strongest. When the number of women intervening between the pair Vogt uttered his first notes, “Wess’ Herd dies auch sei, increases, as if their distance is being reduced. hier muss ich rasten,” however, any concern or fear was A strong tendency in this production is to have dispelled. The voice was clear, the volume more than whoever is singing be the dominant person on stage, often in front and facing the audience while other character(s) stay towards the back of the stage. This was most pronounced in Acts 1 and 3, when only two principal singers are on stage. This helps to focus the audience’s attention to the central figure of the moment. The production is stark, with Act 1 being the most crowded and busy. Act 2 starts (somewhat reminiscent of the “American Ring” performed in Washington, DC, and San Francisco the last several years) in what looks like an office with a table and a lamp on top. Anje Kampe as Sieglinde and Klaus Florian Vogt as Wotan is portrayed as a beleaguered CEO or leader of Siegmund in Die Walküre. sorts, with his minions asking for his signature on vari- Courtesy of Bayerische Staatsoper, Munich.

– 2 – ous papers, which he eventually throws up in the air. dancing goes on a bit too long, and after a few minutes Fricka’s entrance makes it clear that by this time their a single boo came from a balcony section, followed love has become nothing but formal, as she first extends by clapping by the production’s supporters, with still her arms for an embrace but then brushes Wotan away others booing and shouting. What is unfortunate is as they are about to touch. A group of men in tuxedos, this got some in the audience to talk, laugh, and in lined up on each side of the stage facing each other, general created a bit of chaos when the music finally serve drinks to Wotan and Fricka as well as becoming began. The stage has ten or so poles, on top of which a human chairs for them. The back wall of the room has dead male body (a dummy) is hoisted. Eventually, the a painting of naturalistic scenery, as well as Wotan’s dancing women/horses take the bodies away as Wotan spear on a hook, and it moves back and forth during the comes on scene and starts almost manhandling each act. When Fricka confronts Wotan, the wall is in the of the Walküre women. The confrontation and recon- back. As Wotan shares his thoughts with Brünnhilde, ciliation of Wotan and Brünnhilde is played out on an the wall is more in the foreground to create an intimate empty stage with the two characters engaged in a tug space. As Wotan’s office recedes and a platform comes of war of words to convince the other of his/her point down, it is littered with piles of men lying in the center of view. The final fire scene reintroduces women again, as Siegmund and Sieglinde enter the scene. Brünnhilde bearing a large coil and lying down below it, assum- appears in the back of the stage much earlier than her ing a crouching, sleeping position similar to that of customary entrance just before the death annunciation Brünnhilde, who is on top of the coil as the fire burns scene and observes the twins as Siegmund tries to calm below. Sieglinde. As Siegmund sits with sleeping Sieglinde on The singing overall was strong, committed, and his lap, Brünnhilde approaches Siegmund and touches above average. Perhaps Wotan (Thomas Mayer) was his hair. In all, the impression is that this is a very the weakest link, but I enjoyed his more baritonal (not intimate and human Die Walküre, emphasizing charac- bass-like) tone. Hunding was perhaps another weak ters’ interactions with each other and their emotions, a link. Ain Anger looked the part, tall and darkly hand- family drama, as it should be. The death annunciation some and menacing. His voice, however, occasionally scene leaves no doubt that Brünnhilde falls in love with lacked focus and he seemed to be shouting rather than Siegmund and decides to save him. singing at times. The same was somewhat true of the The third act begins with the now infamous fren- women, especially Sophie Koch’s Fricka, although she zied dancing accompanied by loud breathing of women was dramatically compelling and fun to watch. Kata- in white depicting horses rearing to go to battle. The rina Dalayman’s Brünnhilde benefited from the small house acoustics and good direction. She sang and acted movingly in her Act 2 encounter with Siegmund and her Act 3 farewell to Wotan. Anja Kampe’s Sieglinde had a better outing than when I heard her in the role opposite Placido Domingo’s Siegmund in Washington, DC, several years ago, her voice rich and warm. But what can one say about Klaus Florian Vogt’s Siegmund? He certainly uses his unique voice to create a Siegmund of his own, the likes of which I have never heard. Every note was beautifully and carefully sung, Thomas Mayer as Wotan and Katarina Dalayman as but nothing was held back when needed. His “Wälse, Brünnhilde in Die Walküre. Wälse” was perhaps not held as long as some other Courtesy of Bayerische Staatsoper, Munich. notable Siegmunds of the past, but in general there was

– 3 – less major drama and yet more emotional commitment Wagner and Buddha: Legend in his singing. Vogt sang “Winterstürme” superbly, versus History in Die Sieger with his high notes beautifully open and lyrical. The annunciation scene in Act 2 was extremely poignant as Author’s Note: This article originally appeared in Leit- Siegmund asks Brünnhilde if his sister will be with him motive – The Wagner Quarterly, no. 83 (Fall 2008), edit- in Valhalla. To me, Vogt as Siegmund far surpasses ed by Robert Fisher and published by the Wagner Society of Jonas Kaufmann, especially in Act 1. Northern California. It is reprinted here, with some changes, with the kind permission of Mr. Fisher and the WSNC. — — Atsuko Imamura My original manuscript for The Redeemer Reborn: Atsuko (Ako) Imamura, a member of the Boston Wagner Parsifal as the Fifth Opera of Wagner’s Ring was about a Society, is a native of Tokyo and has lived in the United hundred pages longer than the version that was finally States for over 35 years. accepted by Amadeus Press in 2007. Publishers had been saying the original version was too long, too schol- arly, too academic, too difficult for a mainstream audi- ence, etc. I therefore revised the manuscript to make it shorter, less academic, and faster to read. Amadeus Press was the first publisher to see the new version, and they took it right away. One of the sections that I cut was a discussion of the history of the founding of the order of Bhikkhunis, the Pali1 word for female monks. (Bhikkhu means “male monk.”) In light of the growing interest in the Wag- ner world in Die Sieger (The Victors), and in light of how important it was to Wagner that the Buddha had ordained women,2 I thought the readers of Wagneriana would like to see the part of my original manuscript that dealt with how the Buddha came to establish his order of women monks. Wagner learned as much about Buddhism as anyone in the Europe of his time could have from translations of Buddhist scriptures, histories, and commentaries that were then available. One of the books Wagner read was Eugène Burnouf’s Introduction à l’histoire du bud- dhisme indien (Introduction to the History of Indian Buddhism), in which Burnouf relates a legend concern- ing a Chandala maiden named Prakriti who falls in love with the Buddha’s chief attendant, Ananda. This legend became the basis for Wagner’s 1856 sketch for Die Sieger. (A full discussion of Die Sieger, and how it relates to Wagner’s other works, can be found in chapter 1 of The Redeemer Reborn.) Die Sieger concerns the historical Buddha Shakya- muni.3 The Chandala4 maiden was originally named

– 4 – Prakriti, though Wagner later changed her name to Sav- Prakriti answers Buddha’s final question with a itri. The following full, verbatim translation of Wagner’s joyful Yea. Ananda welcomes her as sister. Bud- original sketch is by William Ashton Ellis.5 dha’s last teachings. All are converted by him. He departs to the place of his redemption. Persons of the Drama Dd Shakyamuni [the future Buddha] Ananda We can see here that Wagner had understood a basic Prakriti teaching of karma and rebirth. When the Buddha tells Her Mother Prakriti of her previous life, she sees that her present Brahmins birth is a direct consequence of that previous one, and Disciples she must feel the same kind of pain in her present life Folk that she had caused by mocking in her previous exis- tence. Here Wagner has understood what it is that links Synopsis our rebirths: the creating of karma that needs convert- ing and cleansing or, in the more Christian terms that The Buddha on his last journey. Ananda given Wagner uses here and in the libretto of Parsifal, the water from the well by Prakriti, the Chan- need to expiate a sin committed in a previous life that dala maiden. Her tumult of love for Ananda; his consternation. has not yet been forgiven. Prakriti in love’s agony: her mother brings We also see that Wagner was aware of Buddhist Ananda to her: love’s battle royal: Ananda, dis- history (though he takes some liberties, which I will tressed and moved to tears, released by Shakya’ explain shortly). He writes, “Buddha’s attack on the [the Buddha]. spirit of caste.” Part of the scenario for Die Sieger is Prakriti goes to Buddha, under the tree at the the difference in caste between the Chandalas and city’s gate, to plead for union with Ananda. He asks the Brahmins. It is historically true that the Buddha if she is willing to fulfill the stipulations of such a preached against the caste system of his time, which union. Dialogue with twofold meaning, interpreted was based on birth and not merit. In his own communi- by Prakriti in the sense of her passion; she sinks ties, both lay and monastic, caste was not recognized. down horrified and sobbing to the ground, when The Buddha ordained aristocrats and servants, as well she hears at length that she must share Ananda’s as “untouchables.” In fact, when aristocrats came to vow of chastity. the Buddha to be ordained, they would often bring Ananda persecuted by the Brahmins. Reproofs their servants with them. The Buddha would ordain against Buddha’s commerce with a Chandala girl. the servants first, and then the aristocrats, so that in his Buddha’s attack on the spirit of caste. He tells of Prakriti’s previous incarnation; she then was the monastic order the former servants would be senior to daughter of a haughty Brahmin; the Chandala the former aristocrats. King, remembering a former existence as a Brah- It is also historically true that the Buddha’s monas- min, had craved the Brahmin’s daughter for his tic order was strictly celibate. Thus, when Prakriti son, who had conceived a violent passion for her; professes her love for Ananda and requests that the in pride and arrogance the daughter had refused Buddha unite them, the Buddha offers her admittance return of love, and mocked at the unfortunate. into the order. This requires celibacy, and thus what is This she now had to expiate, reborn as Chandala to being offered is a spiritual marriage with Ananda, not feel the torments of a hopeless love; yet to renounce a romantic one. Finally Prakriti says yes. Redemption withal, and be led to full redemption by acceptance is thus found in the order of Buddha’s monks and in into Buddha’s flock. continuing spiritual practice, not in a worldly marriage.

– 5 – The idea of redemption through spiritual practice and his ultimate salvation. The master responds to the voluntary renunciation of physical union found its this without harshness but as though lamenting ultimate expression in Parsifal.6 an error, an impossibility. Finally, however, when The liberties taken with historical facts that I men- Ananda begins to think in his deepest sadness that 8 tioned concern a topic that was very important to Wag- he must abandon all hope, Çakya, drawn to him ner and is very important for many people today. This by his fellow-suffering and as though by some new and ultimate problem whose solution detains him is the question of the spiritual capacity and position of in life, feels called upon to test the girl. The latter women. Wagner knew the historical facts relating to the now arrives to appeal to the master in her deep- Buddha’s ordaining of women. He wrote of this in detail est grief, begging him to marry her to Ananda. He in a letter to Mathilde Wesendonck dated October 5, expounds the conditions, renunciation of the world, 1858, more than two years after writing the sketch. and withdrawal from all the bonds of nature; on Çakyamuni7 was initially totally opposed to the hearing the principal commandment, she is sincere idea of admitting women into the community of enough in her resolve to collapse in a faint; after saints. He repeatedly expresses the view of them which there unfolds (perhaps you recall it?) the that, by nature, women are far too subject to their colourful scene with the Brahmans who reproach sexual identity, and hence to whim and caprice, him for his dealings with such a girl, claiming that and far too attached to worldly existence to be able this is proof of the error of his teaching. In reject- to achieve the composure and deep contemplative- ing all human pride, his growing sympathy with ness necessary for the individual to renounce his the girl, whose earlier existences he reveals to him- natural inclinations and achieve redemption. It was self and his opponents, grows so strong that, when his favorite pupil, Ananda, – that same Ananda to she herself – having recognized the whole vast whom I have already allotted a part in my “Vic- complex of universal suffering on the basis of her tors” – who was finally able to persuade the master own individual suffering – declares herself ready to relent and open up the community to women. to swear that oath, he accepts her into the number – With this I gained something uncommonly of the saints, as though by way of his own final important. Without any sense of unnaturalness, transfiguration, and thus regards his own course my plan has been vastly and hugely expanded. The through life – which has been one of redemption difficulty here was to make the Buddha himself – a and devotion to all living things – as now complete, figure totally liberated and above all passion – suit- since he has been able to promise that womankind, able for dramatic and, more especially, musical too, may now be – directly – redeemed.9 treatment. But I have now solved the problem by Wagner took three specific liberties with the history. having him reach one last remaining stage in his For dramatic purposes, he has Shakyamuni needing one development whereby he is seen to acquire a new last step in his final journey to complete enlightenment, insight, which – like every insight – is conveyed a step that was not necessary in actuality, since the Bud- not by abstract associations of ideas but by intui- tive emotional experience, in other words, by a dha did not begin teaching until after his experience of process of shock and agitation suffered by his inner complete enlightenment. Second, Wagner has the admit- self; as a result, this insight reveals him in his final tance of Prakriti as the first woman monk happen at the progress towards a state of supreme enlightenment. end of the Buddha’s life, when in fact the Buddha began Ananda, who is closer to life and directly affected ordaining women in the fifth year of his ministry. The by the violent love of the Chandala girl, becomes Buddha taught for forty-five years before entering Parin- the agent of this ultimate enlightenment. – Deeply irvana,10 so the admittance of women into the order of stirred and shaken, Ananda can return this love monks happened early in the Buddha’s teaching. Third, only in his own, supreme, sense, as a desire to the first woman ordained was not the fictional Prakriti, draw his beloved to him in order to share with her but the historical Maha Pajapati Gotami. Because this

– 6 – is such an important topic, both for the study of Wagner death, there will be no more rebirth in any imperma- and for the understanding of women’s place in Bud- nent realm unless the Arahant chooses such a rebirth dhism today, I will discuss the history of women monks. for the purpose of helping those still bound to the wheel After his Enlightenment, the Buddha traveled of birth and death. There is no difference in enlighten- continuously throughout northern India, teaching ment between an Arahant and a Buddha. The word both lay and monastic followers. At first, only men “Buddha” is simply used to denote a particular great were ordained as monks, receiving what was called the teacher who appears in the world at a time and place “going forth.” Women were accepted as lay disciples when the Dharma needs to be regenerated and taught and given the same teachings as lay men, but for five in its true form. A Buddha dedicates his life to teaching years no women asked to be ordained into the commu- for the sake of all beings. An Arahant may or may not nity of monks. remain in the world to teach, though historically speak- The Buddha’s mother had died seven days after his ing most have done so. Buddhism speaks of more Bud- birth, and he had been raised by his aunt, Maha Pajapati dhas than just Shakyamuni Buddha, though he is by far Gotami. In the course of his teaching, the Buddha had the most famous one, and it is he who is being referred returned to his native land of Kapilavastu, where he to by the phrase “the Buddha.” Anyone who has real- ordained many of his aristocratic friends and relatives, ized full enlightenment can be referred to as either an including his son, who was still a boy at that time. In the Arahant or a Buddha. fifth year of his teaching he received word that his father, It is said that the Buddha’s aunt, Maha Pajapati, was King Suddhodana, was dying, and he returned to the present at the bedside of King Suddhodana and heard king. The Buddha preached the Dharma (the Truth) to the sermon the Buddha gave to his father. Upon hear- him, and it is said that upon hearing the teaching, his ing this teaching, Maha Pajapati attained the first stage father attained Arahantship, the stage of final enlighten- of Stream-Entrant. After the cremation of the king, ment. For seven days the king remained absorbed in the the Buddha left the palace and retired to a park. Maha bliss of emancipation, and then he passed away. Pajapati approached the Buddha and said, “It would Buddhism teaches that there are four stages of under- be well, Lord, if women should be allowed to renounce standing on the way to complete enlightenment. The their homes and enter the homeless state under the first is called the Stream-Entrant Sotapanna­( ). A person doctrine and discipline proclaimed by the Tathagata.”12 who has reached this stage, but goes no further in the Without giving a reason, the Buddha refused, and later present lifetime, is said to have no more than seven journeyed to the city of Vesali. rebirths necessary for final liberation. But Maha Pajapati was not deterred. She shaved her The second stage is the Once-Returner (Sakada- head, which the Buddha’s monks did, donned yellow gami). A person who reaches this stage, but goes no garments, and along with a large number of other wom- further in the present life, is said to need only one more en from the Shakya clan, traveled on foot the 150 miles life on Earth to achieve final enlightenment. to where the Buddha was staying. When she and the The third stage is the Non-Returner (Anagami). other women arrived, exhausted, Ananda met them and This person has cleansed all earthly karma and does not was profoundly moved by their determination. He went need to return to Earth anymore, but still he or she has to the Buddha and said, “Behold, Lord, Maha Pajapati subtle karma to cleanse before the final enlightenment. Gotami is standing outside the porch, with swollen feet, Upon earthly death, this person will be reborn in one of body covered with dust, and sad. Please permit women the high meditation heavens and from there will achieve to renounce home and enter the homeless state under liberation.11 the doctrine and discipline proclaimed by the Exalted The fourth stage is the Arahant. An Arahant is one One. It were well, Lord, if women should be allowed to 13 who has realized final enlightenment. After earthly renounce their homes and enter the homeless state.”

– 7 – Again the Buddha refused. Ananda asked a second that the Buddha had ordained women, allowing for their time, and the Buddha still refused. Ananda then tried a spiritual equality and giving them the opportunity for different approach. He asked the Buddha, “Are women, complete emancipation and enlightenment. Lord, capable of realizing the state of a Stream-Winner, This brings us to a final point, which I believe is Once-Returner, Never-Returner and an Arahant, when critical in understanding Wagner’s true intentions con- they have gone forth from home to the homeless state cerning women and spirituality. As I explain in detail under the doctrine and discipline proclaimed by the in my book,16 the core ideas of Die Sieger found their Exalted One?”14 final expression inParsifal . Just as Prakriti finds her The Buddha replied, “They are, Ananda.” salvation not in a romantic union with Ananda but in It is very important to understand the import of a spiritual one, so Kundry finds her own salvation in a this statement by the Buddha. Beyond any shadow of a spiritual union with Parsifal. Kundry’s death at the end doubt, the Buddha taught the spiritual equality of men of the opera is her entrance into Parinirvana. It is her and women. This statement was echoed 1800 years later final emancipation, her final liberation. There will be no by the famous Japanese Zen master Dogen, who in the more rebirths, no more awakenings into the nightmare thirteenth century wrote in his Shushogi, “One of the world of endless wandering. greatest teachings of Buddhism is its insistence upon the Modern directors must come to understand all of this complete equality of the sexes.”15 There is no doubt that so that they can stop distorting Wagner’s greatest work. in the course of history there has been, in many coun- Kundry’s death is not negative. It is not the act of “purg- tries, an inequality of men and women, but it is cultural ing the stage of women.” On January 6, 1881, Wagner and social, not spiritual. told Cosima that Parsifal and Die Sieger were about the Upon hearing the Buddha say that women could attain same thing: the redemption of a woman.17 It is time for enlightenment if they practiced as men did, Ananda men- modern directors to trust that Wagner knew what he was tioned to him how Maha Pajapati had raised the Buddha doing, and it is time for them to pay closer attention to herself, and that if women could attain enlightenment, the music. The closing passages of Parsifal represent in wouldn’t it be good to allow them to practice monasti- music not only the healing of Amfortas’s wound and the cally, just as men did? The Buddha then said that if Maha shining of the light of the Grail throughout the world, Pajapati and the other women with her would agree to a but also the final release of Kundry, who, like a young set of eight rules made specially for all Bhikkhunis, they Chandala maiden in a distant life, found redemption would be given ordination. Ananda took this message to in the third position beyond the opposites: beyond the the women, who gladly accepted the rules. The Buddha opposites of man and woman, beyond the opposites of ordained all of them, and the order of Bhikkhunis was high and low, beyond the opposites of life and death. founded. It is recorded in the Buddhist scriptures that —— Paul Schofield Maha Pajapati and many other women, in the course of years of training, attained full Arahantship, thus proving Paul Schofield was a Zen Buddhist monk between the years the spiritual equality of women and men. 1992 and 2001 in the Order of Buddhist Contemplatives. Wagner, as both his sketch for Die Sieger and his He now writes and lectures on the subject of Wagner and letter to Mathilde show, was aware of the history of Buddhism. the Buddha’s time. He knew that it was Ananda who persuaded the Buddha to admit women, and he knew Endnotes that there were those who were enemies of the Buddha, 1 Pali is the language used in the original Buddhist scriptures, known as the Pali Canon. who considered the Buddha a threat to the social and 2 See Wagner’s letter to Mathilde Wesendonck on religious status quo of the time, which was controlled page 6. by the high-caste Brahmins. Most important, he knew 3 “Shakyamuni” means “the sage of the Shakya clan.”

– 8 – The Buddha was born into the clan of the Shakyas, who ruled a small kingdom in the northern Indian province of Kapilavastu. When he was born he was given the name Siddhartha, which means “wish- fulfilled.” His family name was Gautama. The word “Buddha” means “Enlightened One.” 4 One will encounter various meanings and usages of the word “Chandala.” It can refer to an old tribe or clan that had a very low status in Indian society. It can also refer to an offspring of a father and mother of two different castes. If the father was a Sudra (a member of the servant caste) and the mother a Brah- min (a member of the priest caste), the offspring was called Chandala. “Chandala” could also refer to an “outcaste,” a person of no actual caste and thus the lowest of all, also known as “untouchable.” Finally, “Chandala” was sometimes used as a generic term for the lowest castes in general. Because Wagner refers in his sketch to a Chandala king, it is likely that the term in this context refers to the actual clan of Chandalas, who were well below the Brahmins in status. 5 Originally published in Richard Wagner’s Prose Works, vol. 8 (London: Kegan Paul, Trench, Trüb- ner, 1899). Reprinted as Jesus of Nazareth and Other Writings (Lincoln: University of Nebraska Press, 1995), pp. 385–86. 6 See pages 260–79 of The Redeemer Reborn. 7 The Buddha, equivalent to “Shakyamuni.” 8 The Buddha. 9 Richard Wagner, Selected Letters of Richard Wag- ner, trans. and ed. by Stewart Spencer and Barry Millington (New York: W. W. Norton, 1988), pp. 424–25. Published with the kind permission of Barry Millington. 10 Eternal enlightenment after the death of the body. 11 See pages 94–98 of The Redeemer Reborn for a detailed discussion of the Buddhist heaven worlds. 12 Narada Maha Thera, The Buddha and His Teach- ings (Kuala Lumpur, Malaysia: Buddhist Mission- ary Society, 1977), p. 151. The word “Tathagata” is another appellation for the Buddha. It means “He who hath thus come, He who hath thus gone.” 13 Ibid., p. 152. 14 Ibid., pp. 152–53. 15 Roshi P.T.N.H. Jiyu-Kennett, Zen Is Eternal Life (Mt. Shasta, CA: Shasta Abbey Press, 1987), p. 159. 16 See chapter 1 and pp. 286-87 of The Redeemer Reborn. 17 Cosima Wagner’s Diaries, vol. 2, trans. by Geoffrey Skelton (New York and London: Harcourt, Brace, Jovanovich, 1980), p. 592.

– 9 – Review Although the Rhinemaidens didn’t begin quite togeth- er, it wasn’t long before their vocal lines were soaring over Der Ring des Nibelungen the orchestral music, and intertwining with the solid sing- Royal Opera House, Covent ing of Alberich. Garden — September 2012 They entered swimming naked, then began dressing Der Ring des Nibelungen produced by the Royal Opera before Alberich appeared in a row boat. There appeared House at Covent Garden had all of the ingredients one to be no dramatic tension between the Rhinemaidens looks for in a smashing Ring cycle: a great cast, a very and Alberich, which made it easy for him to grab the highly acclaimed production team, and one of the best gold, thus launching the story of greed and corruption. opera orchestras playing anywhere in the world, ably Although the next scene begins auspiciously, it soon conducted by Antonio Pappano. becomes apparent this will not continue, when the So what went wrong? It was not an overall disaster, giants arrive demanding payment for the “castle in the and there were moments of sheer beauty, but moments clouds” Wotan has foolishly had built, offering Freia in in a 16-hour performance are not enough to save the payment. Without her supply of golden apples, the rest whole thing, although we’ll take all of these moments we of the gods cannot retain their youthfulness, so Wotan can get. and Loge must descend to Nibelheim to claim Alb- erich’s gold to pay the giants. Production Team Instead of an eye patch, Wotan has what seems to be a criss-cross scar where his right eye used to be. Terfel Director – Keith Warner sang masterfully, and Sarah Connolly was one of the Set Designs – Stefanos Lazaridis best Frickas I have had the opportunity of hearing. Costumes – Marie-Jeanne Lecca The gold that Alberich steals is represented as a statue, Lights – Wolfgang Gobbel but when the gold is given to the giants, Freia is lowered into a pit in the earth, which has been referred to earlier as Das Rheingold – 9/24/12 the Rhine entrance, and pieces of gold that seem as light Woglinde – Nadine Livingston as Styrofoam are thrown into this hole, trying to cover Wellgunde – Kai Rüütel Freia, which of course is not accomplished until the Tarn- Flosshilde – Harriet Williams helm and the ring are added to the pile. The Tarnhelm is Alberich – Wolfgang Koch represented by a cube about a foot in size, designed with Wotan – Bryn Terfel a covering of a black grid, with a white background—this Fricka – Sarah Connolly design shows up later in the Gibichung Hall. It seemed Freia – Ann Petersen unwieldy to wear. Fasolt – Iain Paterson The giants take the gold, Fafner kills Fasolt and the Fafner – Peter Coleman-Wright gods go to Valhalla—or do they? In this production, Loge – Stig Anderson ladders descend and Donner, Froh, Fricka and Freia Mime – Gerhard Siegel begin climbing their ladders. Wotan, however, ignores Erda – Maria Radner his ladder, throws his coat on the floor and jumps into The cycle opens with the iconic E Major chord com- the hole that has been called the Rhine! ing from nowhere, as the black curtain covered with All of the singing was of a very high caliber, with white math symbols rises. It grew to a climax as the special kudos to Terfel, Anderson, Connolly, Froh and Rhinemaidens entered, and the well-known struggle the Rhinemaidens. for possession of the gold and the power it represents began.

– 10 – Die Walküre - 9/26/12 with a huge screen of fire added at the rear of the stage Siegmund – Simon O’Neill The wall in front of Brünnhilde lifted, and you saw her Sieglinde – Eva-Marie Westbroek sleeping, waiting for her hero. Hunding – John Tomlinson Wotan – Bryn Terfel Siegfried 9/29/12 Brünnhilde – Susan Bullock Mime – Gerhard Siegel Fricka – Sarah Connolly Siegfried – Stefan Vinke Gerhilde – Alwyn Mellor Wanderer – Bryn Terfel Ortlinde – Katherine Broderick Alberich – sung by Jochan Schmeckenbecker from Waltraute – Karen Cargill the side of the stage, and acted by Wolfgang Koch Schwertleite – Anna Burford who was ill Helmwige – Elisabeth Meister Fafner – Eric Halfvarson Siegrune – Sarah Castle Woodbird – Sophie Bevan Grimgerde – Clare Shearer Erda – Maria Radner Rossweisse – Madeleine Shaw Brünnhilde – Susan Bullock The first two scenes take place in exactly the same During Act 1 Mime’s abode was built onto the set—a silvery circle enclosing a room with black leather remains of a crashed airplane, with its left wing missing. chairs and a very long table. I have never seen this An oil drum, fueled by the plane, provided the forge before, and I think there should be a marked scenic to fashion the sword, and fuel from the plane also ran distinction between the Hut and Valhalla. Mime’s stove, although the burners looked like electric The singing between Westbroek and O’Neill was coils—maybe they looked like gas burners if you were excellent, and Tomlinson made a menacing Hunding closer to them. but the staging left no memorable impressions. The Siegel gives as good a portrayal of Mime as there is lighting was the real star here, along with the conduc- today, and the riddle scene between him and Wotan was tor and the orchestra. When the twins ran off into the done masterfully by both of them. woods, you felt like spring had indeed come. I had not heard Vinke before, but he was a very good In the second scene Fricka entered in her usual Siegfried: Innocent, cunning, forceful—all of these determined manner, in a black and red dress that set the when he needed to be. He sang extremely well, with just stage for what was to come. Wotan, in black trousers, the right edge to his voice, only tiring a bit in the last white shirt, and cream vest, was subdued by Fricka’s duet at the end of Act 3—I don’t know many Siegfrieds determination see the twins punished and began to feel who don’t show some wear by then. the diminution of his power. The forging scene, another of my favorites, built Act 3 takes place on a slightly raked square flat rock. well dramatically, and ended with Siegfried holding the At the end of the day, the scene between Wotan and sword aloft triumphantly. Brünnhilde was most moving. Brünnhilde’s arguments Kasper Holten, the general manager, told us at the were offered with stunning vocalism, and Wotan’s beginning of the opera that Schmeckenbecker would monologue had me in tears. be singing from the side of the stage, and Koch, who When it came time for Wotan to put Brünnhilde was ill, would act the part, and that the replacement to sleep, he carried her behind a wall/scrim, and you was clearing customs as he spoke, so there was no time saw him lay her down only in silhouette. This took the to rehearse this scene; however, when Alberich and drama away from one of my favorite moments. When Wotan performed their scene, it was so natural that you Wotan called for fire from Loge, there was plenty of it, actually forgot Koch wasn’t doing his own singing. I

– 11 – really enjoyed Schmeckenbecker, whom I had not heard Götterdämmerung – 10/1/12 before and would love to hear again in a more lyric role, First Norn – Maria Radner perhaps King Philip or the Dutchman. Second Norn – Karen Cargill Act 2 had a pit in the middle of the stage where one Third Norn – Elisabeth Meister supposed Fafner is sleeping, and indeed when Wotan Siegfried – Stefan Vinke tries to wake him, you hear grumbling from this pit. Brünnhilde – Susan Bullock When Fafner came out of the hole, he looked just like Gunther – Peter Coleman-Wright he had when he was a giant, then later added an ugly, Hagen – John Tomlinson wolfish-looking animal head that he took on and off at Gutrune – Rachel Willis-Sørensen will. Waltraute – Mihoko Fujimura The Woodbird appeared on stage when singing, first Alberich – Wolfgang Koch flying around in a parachute outfit, then entered from Woglinde – Nadine Livingston the side of the stage as an acrobat and from then on Wellgunde – Kai Röötel walked on stage. This is the second production I have Flosshilde – Harriet Williams seen where the Woodbird appears on stage as a charac- Again the opera starts with the black curtain cov- ter, and I have liked both of them. ered with white math symbols as in Das Rheingold. The In Act 3, the rock is very raked and spinning rap- Norns appear through a slit in the curtain, dressed in idly. Wotan is singing and throwing items off into the black but with red neon patterns, and red neon rope. wings, until only a chair and his spear are left. He looks It was one of the most riveting Norn scenes I have ever bedraggled and seems to have no power left. seen, either because of the singing, or because the con- When he awakens Erda, she enters in a very tall black ductor shaped the orchestra so well, or both. leather chair but then descends to the ground. At that We then arrive at the Gibichung palace, which has a point Wotan is on a corner of the square center stage, back wall of mirrored glass in square panels framed by and she walks over to him and they embrace. I have white wood very reminiscent of the Tarnhelm. Part way never seen contact between them before, and found it through the scene the two side panels move around at very touching, showing they still have feelings for each right angles to the back, actually forming a room. other with all that has gone on in between. The room is furnished with a shiny white couch at least After Erda leaves, the square becomes a wall, with 15 feet long. Gutrune is sitting in a long white dress on Wotan’s spear diagonally across a door. Siegfried enters the right side, Hagen, menacing as always, is in black in from the front, confronts Wotan and has to break the the center, and Gunther is in bright red on the left side, spear with his sword to enter the door. The Wanderer, showing the distance in the relationship of the three. broken in spirit by his grandson, retrieves the spear and Siegfried enters this setting, which must be very dif- leaves. ferent from anything he has ever seen in his life, growing Siegfried and Brünnhilde meet, again in silhouette up with Mime in the woods. behind the wall, but then the wall rises and the duet The couch slides off stage and is replaced by 5 gold is sung in the full light of dawn. Although Vinke, as I statues, 4 in the room, representing Donner, Froh, mentioned, tired a bit by then, the duet was glorious, Fricka and Freia, and one behind the glass, in the cen- and made a superb end to this, my favorite of the Ring ter, of Wotan. operas. Gutrune returns in a very sleek and becoming silver dress, and welcomes Siegfried with a drink. Sieg- fried, according to plan, falls immediately in love with Gutrune and agrees to take Gunther to meet the woman he remembers leaving on the rock. – 12 – In the meantime Waltraute visits Brünnhilde on Review the rock and tries to convince her to return the ring to the Rhinemaidens. Fujimura sings as stunning a That Old Black Magic Waltraute as I have ever heard, but Brünnhilde remains The Sorcerer of Bayreuth: Richard Wagner, His Work unconvinced. and His World. Barry Millington. ©Oxford University When Siegfried and Brünnhilde meet on the rock, Press, 2012. 320 pp. 285 illustrations, 165 in color. List Siegfried is on the side of the stage singing with the Price: $39.95. Tarnhelm on, but Brünnhilde actually sees Gunther. If you are tired of seeing Wagner branded as an ego- I have never seen it done this way before. Usually she maniacal jerk, indeed, as an altogether monstrous and sees Siegfried, and then he and Gunther change places odious human being, then you will find solace in Barry before returning to the Gibichung abode. Millington’s new book, in which the distinguished Brünnhilde, feeling betrayed, hatches the plot with English Wagner expert refutes many misconceptions Gunther and Hagen to kill Siegfried, telling them that and sets the record straight. In the venerable tradition she didn’t protect his back. of Ernest Newman, Millington here adroitly manages to Siegfried meets the Rhinemaidens one more time, restore balance and sanity and sharp focus to the end- and they predict his death and encourage him to return less debate about the most controversial artist of the last the ring. He laughs, not believing them, and returns to two centuries. the hunting party, where Hagen stabs him. Was Wagner really a ruthless exploiter of his many The funeral music lived up to my high expectations, benefactors? He was not, Millington tells us, if you with the orchestra playing gloriously and with great dra- consider what his donors received in return. As a mat- matic intensity. ter of principle, Millington tends to take the side of the The immolation was done well with four fire pits, composer who had to fend for himself and his work and four of the gold gods fell into them—I don’t know without the benefit of modern copyright laws. To clinch what happened to the gold Wotan. Brünnhilde and the his point, he cites Wagner’s amusing and disarming skeletal head of Grane join Siegfried. There is a large confession, in a letter to Franz Liszt: “when you see the conflagration at the end, and a vertical silver circle second act of Tristan, you’ll admit that I need a lot of descends with a child standing in the center, signifying money. I’m a great spendthrift; but, really, it does pro- rebirth/renewal. duce results” (p. 144). That it did! Musically this was a Ring for the ages. But the mean- Was Wagner really an irredeemable philanderer? ing of an opera production should be evident by the end He was not, Millington tells us: “the reality is more of the cycle. So, would I see it again? Absolutely, but for complex and far more interesting” (p.133). In fact, the the musical values, not the production. number of Wagner’s affairs has been greatly exagger-

—— Kathy Boyce ated, no doubt partly because, in his operas, the institu- tion of marriage does not fare well. Wagner’s marriage Kathy Boyce has been a member of the Boston Wagner Soci- to Minna Planer was initially testosterone-driven; it ety since January 2004. inevitably faltered as soon as their incompatibility became apparent. With balanced good reason, Milling- ton thus refrains from blaming Wagner for his marital Wanderlust. As for Mathilde Wesendonck, the great love of Wagner’s life, Millington is all but certain that Wagner did not have sexual relations with that woman. And about Wagner’s second marriage, to Cosima, Mil- lington again pleads for understanding: What, after all,

– 13 – was a passionate and excitable man to do when his wife, tressed by citations from recent scholarship by, among having produced Siegfried, then proceeded to withdraw others, Chris Walton, Barry Emslie, Laurence Drey- her sexual favors from the progenitor of the heir appar- fus, Patrick Carnegy, Nicholas Vazsonyi, and Ingrid ent! Wagner’s dalliance with the brilliant and exotic Kapsamer. This procedure makes for a pleasingly fleet Judith Gautier, at the time of the first Bayreuth Festival, presentation free of ponderousness and fussiness. almost has Millington’s benediction. In a book of modest proportions, certain themes But what about Wagner’s infamous hatred of Jews? inevitably had to be glossed over or omitted. It is still For the past quarter century, Millington has been in the somewhat surprising that Millington hardly deals with forefront of the heated debate over this, the thorniest the Paris years and the formative influence on Wagner of Wagnerian issues. He is adamant, and rightly so, in of French culture, although he does add Rousseau to rejecting the position of the apologists, or rather, “pro- the established mix of “influences” on the Ring. The tectionists,” who argue that Wagner’s operatic works relationship between Wagner and Berlioz is left unex- are untainted by the composer’s anti-Semitism. On the amined, something all the more regrettable since Mil- other hand, he does not want to throw out the baby with lington’s chapter on Liszt is one that is particularly fine the bathwater either, and thus takes the plausible posi- and enlightening. tion that “it is that often murky ideological subtext that Another omission concerns the memorable attempt makes the operas the fascinating, perplexing and end- by Franz W. Beidler—commissioned by the American lessly thoughtprovoking works they are” (p. 140). Military Government—to organize a truly de-Nazified For many people it is indeed his anti-Semitism that Bayreuth Festival. This attempt failed, for legal reasons, makes Wagner unpalatable as man, artist, and thinker. and thus paved the way for Wieland and Wolfgang— The matter greatly troubles Millington, but not to the neither of whom was untainted—to take the reins of point of lessening his appreciation and enjoyment of the Festival. Beidler was a distinguished scholar and the operas. Proof of this can be found for instance in arts administrator; as the son (born in 1901) of Isolde the strong words of admiration that he has for the Ring Wagner he was Wagner’s first-born grandson. He had (“simply one of the enduring pillars of Western civili- been an opponent of Nazism from the start and was the zation,” p.87), for Tristan (“a profound meditation on first Wagner descendant to marry a woman who was the nature of the material world, on the metaphysics of Jewish. Beidler’s name is nowhere to be found in this subjectivity and on the mysteries of human existence book, even though his existence led to Isolde’s attempt, itself,” p.166), and for Parsifal (“a work whose glory will in 1914, to secure his hereditary rights in the courts. In always be shrouded in its dark ambiguities,” p.240). an infamous legal farce masterminded by Cosima and This kind of nuanced admiration, which remains mind- Houston Stewart Chamberlain, Beidler was stripped ful of the “murky ideological subtext,” places Milling- of his connection to Wagner—a sadly brutal but by no ton in the company of that most eminent Wagnerian, means atypical episode in the colorful history of the Thomas Mann, excerpts from whose writings serve as Wagner clan. epigraphs for five chapters. Mann’s celebrated “enthusi- As I see it, Millington’s blind spot as regards the astic ambivalence” is also Millington’s. Beidler matter leaves him all the more susceptible to The book has a somewhat unusual format. Instead the myth of Neu-Bayreuth, according to which the of covering the life and works as well as their afterlife Festival of 1951 marked a complete break with the Nazi in a strictly chronological order, Millington opts for a past and, aesthetically and politically speaking, a fresh thematic arrangement in 30 concise chapters devoted start. He does not ignore Wieland’s Nazi associations, to a theme or complex of themes. The chapters explore but he appears strangely sanguine about the highly a given topic through the analysis of texts, illustrations, questionable efforts of Hitler’s favorite little Wagner and relevant documents. Particular points are but- to decontaminate Bayreuth from its Nazi connections.

– 14 – Sanguine, however, does not even begin to describe Upcoming Events, 2013 Millington’s surprisingly gushing comments about the “breathtaking stagecraft” (p.299) of Katharina Wag- ner’s 2007 production of Die Meistersinger, or his praise The Sorcerer of Bayreuth: Richard for Katharina and Eva Wagner-Pasquier’s “impres- Wagner, His Work, and His World sive” directorship of the Festival. Surely it is premature Sunday, March 17, 2013, 2 p.m. to speak of triumph when dark clouds seem now to be Talk and book signing by the distinguished scholar gathering around the Green Hill from various sides. But Barry Millington Millington—optimist at heart that he appears to be— Brookline Public Library, 361 Washington Street, Brookline concludes his book with an observation that is perfectly Free reasonable: “In the meantime, the world will be watch- ing events on the Green Hill with no less fascination than in the past, as bemused by the still unfolding saga Jon Vickers: A Man and His Music of the Wagner dynasty as it is impressed by the caliber Saturday, April 13, 2013, 2 p.m. of its unique achievements” (p. 303). Documentary and presentation by Vickers’s biogra- My cavils aside, Millington’s new book is an admira- pher Jeannie Williams bly succinct and thoughtful treatment of Wagner “and Brookline Public Library, 361 Washington Street, all that.” It also quite auspiciously opens the gates for Brookline what promises to be a flood of publications occasioned Free by the impending bicentenary. Hans Rudolf Vaget Bicentennial concert and Q&A with Hans Rudolf Vaget, Professor Emeritus of German bass-baritone Greer Grimsley Studies and Comparative Literature at Smith College and Featuring soprano Joanna­ Porackova, contralto Marion a Thomas Mann specialist, is a lecturer and writer for Dry, and pianist Jeffrey Brody Wagner societies and international conferences. Saturday, May 11, 2013, afternoon (precise time will This review is reprinted with the kind permission of be announced) Wagner Notes, Vol. XXV No. 5 (October 2012), a publi- Old South Church, 645 Boylston St., Boston cation of the Wagner Society of New York. Details to be announced

Bicentennial concert In collaboration with the St. Botolph Club and the Harvard Musical Association Harry Huff, organ; Joanna Porackova, soprano; Marion Dry, contralto; Alan Schneider, heldentenor Wednesday, May 22, 2013 (Wagner’s 200th birthday) Old South Church, 645 Boylston St., Boston Dinner at the St. Botolph club will follow. Details to be announced

– 15 – Boston Wagner Society Fall 2012 Events

Corey Ellison Asher Fisch On September On September 29, 2012, the Boston 23, 2012, the Wagner Society hosted the well- dramaturg and known conductor and pianist Asher Metropolitan Fisch in a lecture and piano demon- Opera Quiz stration titled “The Wagner-Liszt panelist Cori Connection” at Killian Hall, MIT, Ellison gave Cambridge, Mass. a talk titled “‘Those Ill-Mannered Girls’: Tickets to the Maestro Asher Fisch at his lecture/ Brünnhilde and the Valkyries.” Bayreuth Festival demonstration on the Wagner-Liszt connection Once again, the Bayreuth Fes- Jane Eaglen tival has reversed its policy of offering tickets to members of On Oct 16, 2012, WGBH Radio Wagner societies. After mail- Host Ron Della Chiesa interviewed ing all the societies an order acclaimed soprano Jane Eaglen at the form, and in the process raising College Club, Boston, Mass. members’ hopes, festival offi- cials, under pressure from the government, have announced that tickets will no longer be Maestro Fisch and BWS President available through the Wagner Dalia Geffen societies. It is possible that this policy will change for tickets to the 2014 festival. Photos by Thomas Kwei WGBH Host Ron Della Chiesa, Jane Eaglen, and Dalia Geffen Wagneriana is a publication of the Boston Wagner Society, copyright 2013, The Boston Wagner Society, Inc. Publisher: Dalia Geffen Editor: Donald Rosenthal Designer: Susan Robertson Logo Design: Sasha Geffen We welcome contributions to Wagneriana. Please contact us at [email protected] or 617-323-6088. Boston Wagner Society P.O. Box 320033 Jane Eaglen at the Q&A session Boston, MA 02132-0001, U.S.A. www.bostonwagnersociety.org.

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