HAVE GERMAN WILL TRAVEL Bayreuther Festspiele / Bayreuth

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HAVE GERMAN WILL TRAVEL Bayreuther Festspiele / Bayreuth

HAVE GERMAN WILL TRAVEL FESTSPIEL "Bei uns ist immer was los!" Bayreuther Festspiele / Bayreuth Richard Wagner Opera Festival (annual month-long summer music festival held in Bavarian town of Bayreuth from end of July to end of August) What to expect at the 2021 Bayreuth Festival Puppet show, installation, multimedia The pandemic has hit one person particularly bard, and that is Valentin Schwarz. The young German director's production of Wagner's key work, the Ring of the Xibclung teh-a.lug_, , has been postponed by two years and will probab1y not be heard on tbe Green Hill until 2022. As a precursor to tbe new Ring, one of the four operas, Die Walkiire, will be pe1formed in a semi-concert setting in 2021. While the musical part will be created by the new Ring ensemble under conductor Pietari Inkinen, Austrian artist Hermann Nitscb will accompany Wagner's music by painting on stage. "lt's not that I'm setting up a production to match the 'Vall<yrie,"' Nitsch said, adding his painting event probably will indirectly conform to the colorful, broadly'expansive music of Richard Wagner. Born in Vienna in 1938, Nitsch is considered the patriarch of Actionism, his specia1ty being the Orgiastic Mystery Theater. Rheingold is staged as a puppet show by the voung Austrian Nikolas Habjan. and a new musical interpretation by Gordon Kan,pe, while ,lay Scheib takes a multimedia approach to Siegfr-ied, and the .Japant~e Chiham Shiota presents a Gotterclammenmg installation. The Walkiire performances are framed by commis&-ioned works in various artistic genres, which, according to Kat11arina Wagner's idea, "mirror, comment on, continue ur make it possible to experience all parts of Ring des Nibelunge11 in a new way_" Strengthened by the crisis? The Bayreuth Festival has survived many periods of crisis. Richard Wagner's daring project lo stage a festival featuring nothing but his own works went bankrupt right after its first run in 1876 and was not revived until 1882. Tbe two World Wars and the international economic crisis of the 1930s also resulted in several cancellations: Between 1882 and 1944, the festival was called off 16 times. This year "everyone will have the opportunity to feel they are young Siegfried and experience an encounter with a dragon," Katharina Wagner said. Festival dire<.1:or Katharina Wagner is the great granddaughter of the legendary composer Perhaps the dragon analogy refer:; to the battle against the pandemic. Ideally, people emerge from a crisis stronger and wiser - like the legentlary Germanic hero and dragonslayer. Siegfried. .

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Música Y Pasión De Cosima Liszt Y Richard Wagner
A6 [email protected] VIDA SOCIAL JUEVES 14 DE MAYO DE 2020 Música y pasión de Cosima Liszt y Richard Wagner GRACIELA ALMENDRAS Fundado en 1876, l Festival de Bayreuth, que cada año se el festival realiza en julio, no solo hace noticia por su también E obligada cancelación a causa de la pande- suspendió mia, sino que también porque es primera vez en sus funcio- sus más de 140 años de historia que un Wagner nes durante no encabeza su organización. Ocurre que la bisnie- las grandes ta de Richard Wagner, el compositor alemán guerras. En precursor de este festival, está enferma y abando- julio iba a nó su cargo por un tiempo indefinido. celebrar su La historia de este evento data de 1870, cuando 109ª edi- Richard Wagner con su mujer, Cosima Liszt, visita- ción. En la ron la ciudad alemana de Bayreuth y consideraron foto, el que debía construirse un teatro más amplio, capaz teatro. de albergar los montajes y grandes orquestas que requerían las óperas de su autoría. Con el apoyo financiero principalmente de Luis II de Baviera, consiguieron abrir el teatro y su festival en 1876. Entonces, la relación entre Richard Wagner y FESTIVAL DE BAYREUTH su esposa, Cosima, seguía siendo mal vista: ella era 24 años menor que él e hija de uno de sus amigos, y habían comenzado una relación estando ambos casados. Pero a ellos eso poco les importó y juntos crearon un imperio en torno a la música. Cosima Liszt y Richard Wagner. En 1857, Cosima se casó con el pianista y Cosima Liszt (en la director de foto) nació en orquesta Bellagio, Italia, en alemán Hans 1837, hija de la con- von Bülow desa francoalemana (arriba), Marie d’Agoult y de alumno de su su amante, el conno- padre y amigo tado compositor de Wagner.
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Read Book Wagner on Conducting
WAGNER ON CONDUCTING PDF, EPUB, EBOOK Richard Wagner,Edward Dannreuther | 118 pages | 01 Mar 1989 | Dover Publications Inc. | 9780486259321 | English | New York, United States Richard Wagner | Biography, Compositions, Operas, & Facts | Britannica Impulsive and self-willed, he was a negligent scholar at the Kreuzschule, Dresden , and the Nicholaischule, Leipzig. He frequented concerts, however, taught himself the piano and composition , and read the plays of Shakespeare, Goethe, and Schiller. Wagner, attracted by the glamour of student life, enrolled at Leipzig University , but as an adjunct with inferior privileges, since he had not completed his preparatory schooling. Although he lived wildly, he applied himself earnestly to composition. Because of his impatience with all academic techniques, he spent a mere six months acquiring a groundwork with Theodor Weinlig, cantor of the Thomasschule; but his real schooling was a close personal study of the scores of the masters, notably the quartets and symphonies of Beethoven. He failed to get the opera produced at Leipzig and became conductor to a provincial theatrical troupe from Magdeburg , having fallen in love with one of the actresses of the troupe, Wilhelmine Minna Planer, whom he married in In , fleeing from his creditors, he decided to put into operation his long-cherished plan to win renown in Paris, but his three years in Paris were calamitous. Living with a colony of poor German artists, he staved off starvation by means of musical journalism and hackwork. In , aged 29, he gladly returned to Dresden, where Rienzi was triumphantly performed on October The next year The Flying Dutchman produced at Dresden, January 2, was less successful, since the audience expected a work in the French-Italian tradition similar to Rienzi and was puzzled by the innovative way the new opera integrated the music with the dramatic content.
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Accidental Tourism in Wagner's Bayreuth
1 Accidental Tourism in Wagner’s Bayreuth An Analysis of Visitors’ Motivations and Experiences in Wagner’s Bayreuth. Myrto Moraitou Master Thesis Dissertation Accidental Tourism in Wagner’s Bayreuth An analysis of visitors’ motivations and experiences in Wagner’s Bayreuth Master Thesis Name: Myrto Moraitou Student number: 433480 Supervisor: Prof. Dr. S. L. Reijnders Date: June 12th 2018 Erasmus School of History, Culture and Communication Arts, Culture and Society Erasmus University Rotterdam Accidental Tourism in Wagner’s Bayreuth An analysis of visitors’ motivations and experiences in Wagner’s Bayreuth Abstract This research offers an analysis of the motivations and experiences of visitors in Wagner’s Bayreuth. Wagner’s Bayreuth is a great example of music tourism as it is maybe the first site where music lovers from around the world visited in order to listen and experience classical music. Taking as a starting point the theories developed on music tourism studies on sites related to popular music such as the ones of Connell and Gibson (2003), Gibson and Connell (2005, 2007) and Bolderman and Reijnders (2016), this research will try to identify whether these theories apply also on the classical music field, based on the example of Wagner’s Bayreuth. This paper addresses four visitor elements; the motivation, the expectation, the experience and evaluation of the above. The personal ‘identity’ of each visitor plays also an important role on their motives and evaluation procedure of the experience, as it defines the relationship between the visitor and the place and also the way of evaluation through their personal story. Through the analysis of these elements, using a qualitative approach with in depth interviews based on these elements, the findings suggest that there are some similarities in the behavior of the visitors between Wagner’s Bayreuth and previous researches on popular culture sites.
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My Fifty Years with Wagner
MY FIFTY YEARS WITH RICHARD WAGNER I don't for a moment profess to be an expert on the subject of the German composer Wilhelm Richard Wagner and have not made detailed comments on performances, leaving opinions to those far more enlightened than I. However having listened to Wagnerian works on radio and record from the late 1960s, and after a chance experience in 1973, I have been fascinated by the world and works of Wagner ever since. I have been fortunate to enjoy three separate cycles of Der Ring des Nibelungen, in Bayreuth 2008, San Francisco in 2011 and Melbourne in 2013 and will see a fourth, being the world's first fully digitally staged Ring cycle in Brisbane in 2020 under the auspices of Opera Australia. I also completed three years of the degree course in Architecture at the University of Quensland from 1962 and have always been interested in the monumental buildings of Europe, old and new, including the opera houses I have visited for performance of Wagner's works. It all started in earnest on September 29, 1973 when I was 28 yrs old, when, with friend and music mentor Harold King of ABC radio fame, together we attended the inaugural orchestral concert given at the Sydney Opera House, in which the legendary Swedish soprano Birgit Nilsson opened the world renowned building singing an all Wagner programme including the Immolation scene from Götterdämmerung, accompanied by the Sydney Symphony Orchestra conducted by a young Charles Mackerras. This event fully opened my eyes to the Ring Cycle - and I have managed to keep the historic souvenir programme.
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Audiovisual Recording As Registers of Opera Productions1
Comunicação e Sociedade, vol. 31, 2017, pp. 39 – 56 doi: http://dx.doi.org/10.17231/comsoc.31(2017).2603 The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions1 Mateus Yuri Passos Abstract This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In direc- tor’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are in- terested above all in problematizing the equivalence that is sometimes established between a stag- ing and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883). Keywords Opera recording; director’s theater; opera staging; Regietheater; Richard Wagner Resumo Este trabalho se debruça sobre o uso de gravações audiovisuais como documentos para análise de producções de ópera contemporâneas agrupadas pela crítica alemã sob o termo tea- tro de director [Regietheater].
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Richard Wagner Tristan Und Isolde Wolfgang Sawallisch
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What Would Wagner Have Thought of Regietheater in Modern Bayreuth
What would Wagner have thought of Regietheater in modern Bayreut h? During an interval of Die Meistersinger directed by Katharina Wagner, that I saw on my first visit to Bayreuth in 2011, a fellow-visitor from Dublin asked, what would Wagner have thought about the production? My response was that he would probably have hated it. My friend was not so sure. Thinking about the question afterwards, I realised that my response had been extremely superficial. I had read Spotts’s history of the Bayreuth festival, and was aware that for more than thirty years following Wagner’s death in 1883 productions in Bayreuth changed very little 1. This was not, however, the result of a decision by Wagner himself, but reflected the primary concern of Wagner’s widow, Cosima, who put the Festival on a regular footing, which was to preserve Richard’s legacy. For Parsifal this was simple, since it had just received its premiere in Bayreuth, and it remained unchanged for 50 years. As other operas were introduced into subsequent festivals, she tried to ensure that their productions adhered as closely as possible to those that he had earlier supervised. So while it seems probable that Cosima would have hated Katharina’s production, this might not necessarily have been true for Richard himself 2. What we were seeing in 2011 was an example of Regietheater (“directors’ or producers’ theatre”), the term normally used to describe stagings that differ in some deliberate and significant way from what their composers or librettists expected or prescribed. It was so obviously very different from these early productions that if Wagner’s Ghost had returned to the back rows of the Festspielhaus, unaware of the historical evolution of productions of his work, it would doubtless have been startled.
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KIP WILBORN, Tenor
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Wagner Sept 09.Indd
Wagner Society in NSW Inc. Newsletter No. 116, July - August 09 IN NEW SOUTH WALES INC. In Memoriam HILDEGARD BEHRENS, WAGNERIAN SOPRANO President’s Report Dear Members and in past years we have wished the Meister “Alles Gute zum Geburtstag” (Happy Birthday) in song during our party. Welcome to our Spring Newsletter for September 2009. However this year the practice ended, much to the relief I Functions suspect of members who found the tradition more than a Annual General Meeting little anachronistic. On Sunday 24 May 2009, following the screening of Act 3 July Recital of Katharina Wagner’s current Bayreuth production of Die On Sunday 19 July 2009, following the re-screening of Meistersinger, we held our AGM. In an action-packed 25 the DVD Katharina Wagner’s Feuertaufe (Baptism of Fire) minutes or so, we approved the audited accounts, amended we were treated to a concert arranged by Stephen Whale, the Rules, re-elected the Committee and had time for a one of our student members and a pianist from the Sydney robust discussion before raising the membership fees from Conservatorium, with two fellow students Tom Johnson the 2010 calendar year. I can hardly wait for next year! (piano) and Jared Lillehagen (baritone). Stephen Whale had From 1 January 2010, the annual membership fees for new been award a scholarship to enable him to study piano in the and renewing members will be: single members $60, single United States, where he will be for the next 2 years. Highlights pensioner member $35, shared memberships $90, shared for me included Jared Lillehagen singing Wolfram’s aria O pensioner memberships $55, with student members $25.
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„Der Alte Nazi Von Nebenan“
Kultur SPIEGEL-GESPräch „Der alte Nazi von nebenan“ Die Weimarer Festivalchefin Nike Wagner über ihre Vorfahren Franz Liszt und richard Wagner, die Freundschaft ihrer Familie mit hitler und über Angela Merkels einseitigen Operngeschmack SPIEGEL: Frau Wagner, Sie sind die Nach - Wagner zur Seite. Aus Bayreuther Sicht SPIEGEL: Wie wurde bei Ihnen in der Villa fahrin zweier bedeutender Komponisten. war er aber immer nur der Steigbügel - Wahnfried über Liszt gesprochen? Wer steht Ihnen näher, Ihr Ururgroßvater halter Wagners, so wurde sein Bild tra - Wagner: Er hat bei den Wagners nie etwas Franz Liszt, dessen Geburtstag sich im diert und kommuniziert. Daran ist seine gegolten. Liszt wurde immer mal bespöt - Oktober zum 200. Mal jährt, oder dessen Tochter cosima Wagner nicht unschuldig. telt als der Abbé oder abgetan als Salon - Schwiegersohn richard Wagner? SPIEGEL: Den Vater reduzieren zugunsten virtuose. Das war eine schon von richard Wagner: Eindeutig Liszt. Ich habe ihn al - des Ehemanns? Wagner verachtete Kategorie, nah am Ef - lerdings spät im Leben entdeckt. Und nur Wagner: Wahrscheinlich musste sie bewei - fektmusiker. Und dann schrieb er so Sym - durch die lobenden Bemerkungen des sen, dass sie den größeren Komponisten phonien und geistliche Werke – wo die Komponisten und Dirigenten Pierre Bou - geheiratet hat. große Geschichte doch nur auf Wagners lez. Was für ein vielseitiges, Musikdramen hinsteuerte und phantastisches und auch ex - mit dem „Parsifal“ – aus Sicht perimentelles Œuvre! Seit der Wagners – die heiligen Sujets Jahren stelle ich Liszt nun schon richtig in Szene gesetzt in den Mittelpunkt meines waren. Den späten Liszt hielt Kunstfestes in Weimar. Er hat Wagner für wahnsinnig. Dabei den Geist, der mir gefällt: no - reichte Liszt mit den späten Wer - bel, exzentrisch, europäisch.
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Die Meistersinger Von Nürnberg on Stage in the Weimar Republic
This is a repository copy of Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/122212/ Version: Accepted Version Article: Sheil, Aine Catherine orcid.org/0000-0001-6890-3204 (2018) Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. Cambridge Opera Journal. pp. 117-151. ISSN 0954-5867 https://doi.org/10.1017/S095458671700012X Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Displacement, repetition and repression: Die Meistersinger von Nürnberg on stage in the Weimar Republic Áine Sheil Abstract Relatively little scholarly attention has been paid to the performance and reception history of Die Meistersinger von Nürnberg during the Weimar Republic (1919-33), but as this article will demonstrate, the opera played an indispensable role in the repertories of Weimar opera houses. Despite an evident desire on the part of some Weimar directors and designers of Die Meistersinger to draw on staging innovations of the time, productions of the work from this period are characterised by scenic conservatism and repetition of familiar naturalistic imagery.
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