„Der Alte Nazi Von Nebenan“
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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. -
International Richard Wagner Congress – Bonn 23Rd to 27Th September 2020
International Richard Wagner Congress – Bonn 23rd to 27th September 2020 Imprint The Richard Wagner Congress 2020 Richard-Wagner-Verband Bonn e.V. programme Andreas Loesch (Vorsitzender) John Peter (stellv. Vorsitzender) was created in collaboration with Zanderstraße 47, 53177 Bonn Tel. +49-(0)178-8539559 [email protected] Organiser / booking details ARS MUSICA Musik- und Kulturreisen GmbH Bachemer Straße 209, 50935 Köln Tel: +49-(0)221-16 86 53 00 Fax: +49-(0)221-16 86 53 01 [email protected] RICHARD-WAGNER-VERBAND BONN E.V. and is sponsored by Image sources frontpage from left to right, from top to bottom - Richard-Wagner-Verband Bonn - Michael Sondermann/Bundesstadt Bonn - Deutsche Post / Richard-Wagner-Verband Bonn - StadtMuseum Bonn - Michael Sondermann/Bundesstadt Bonn - Beethovenhaus Bonn - Stadt Königswinter - Michael Sondermann/Bundesstadt Bonn - Stadtmuseum Siegburg - Michael Sondermann/Bundesstadt Bonn - Michael Sondermann/Bundesstadt Bonn Current information about the program backpage - Michael Sondermann/Bundesstadt Bonn rwv-bonn.de/kongress-2020 Congress Programme for all Congress days 2 p.m. | Gustav-Stresemann-Institut Dear Members of the Richard Wagner Societies, dear Friends of Richard Wagner’s Music, Conference Hotel Hilton Richard Wagner – en miniature Symposium: »Beethoven, Wagner and the political “Welcome” to the Congress of the International Association of Richard Wagner Societies in 2020, commemorating Ludwig “Der Meister” depicted on stamps movements of their time « (simultaneous translation) van Beethoven’s 250th birthday worldwide. Richard Wagner appreciated him more than any other composer in his life, which Prof. Dr. Dieter Borchmeyer, PD Dr. Ulrike Kienzle, is why the Congress in Bonn, Beethoven’s hometown, is going to centre on “Beethoven and Wagner”. -
Journal Des Richard-Wagner- Verbandes Leipzig
Journal des Richard-Wagner- Verbandes Leipzig Aktuelles aus der Geburtsstadt des Meisters 1 / 2015 die Elbe, der Schatten. So lichtvoll wie nie. als »das Potsdam von Leipzig« bezeichnen. Und bis an die Spree, respektive die Havel. Nein, Wagner schlägt Brücken und Thiele- Wagner verbindet Ein leuchtendes Beispiel. Denn der in Dresden mann bekommt Ende Mai an der Pleiße den als Chefdirigent der Sächsischen Staatskapelle mit 10.000 Euro verbundenen Preis. Damit wirkende und in Potsdam lebende Berliner tritt er die Nachfolge von Ewa Michnik an, die Christian Thielemann erhält in diesem Jahr sich als Intendantin der Oper Wroclaw sowie hristian Thielemann erhält den Richard- den Richard-Wagner-Preis der Leipziger als Dirigentin ebenfalls sehr in den Dienst von CWagner-Preis der Leipziger Richard- Richard-Wagner-Stiftung. Thomas Krakow, Wagners Schaffen gestellt hat. Wagner-Stiftung. Der Berliner Dirigent unermüdlicher Vorsitzender der Stiftung, schlägt quasi eine Brücke zwischen den würdigte Thielemann als »herausragendsten Thielemann, omnipräsenter Wagnerianer beiden sächsischen Musikmetropolen. zeitgenössischen Wagner-Dirigenten«, der in nicht nur auf dem Grünen Hügel in Bayreuth, Und plötzlich geht es mit dem Brückenschla- seiner Person »derzeit das tiefste Verständnis sondern erst jüngst sogar in der Wüstenstadt gen zwischen Leipzig und Dresden ganz und die höchste künstlerische Kompetenz Al Ain (als Erstaufführer des Siegfried-Idyll!) einfach. Völlig frei von Missgunst, Neid und in Sachen Richard Wagner« vereine. »Wir in den Vereinigten Arabischen Emiraten Konkurrenz zwischen bürgerlicher Bewegt- möchten den Entwicklungsweg des Dirigenten – er hat sich diesen Preis redlich verdient. heit und residenzstädtischem Stillstand. zu Richard Wagner und seine nie endende Sowieso mit einer umfangreichen Wagner- Wagner macht‘s möglich! Der war ja auch Durchdringung des Leipziger Komponisten Diskografie sowie dem lesenswerten Buch schon in beiden Städten zugange. -
Journal Des Richard-Wagner- Verbandes Leipzig
Journal des Richard-Wagner- Verbandes Leipzig Aktuelles aus der Geburtsstadt des Meisters 3 / 2014 Richard Wagners Wurzeln ür Richard, den Leipziger, zu wirken, Fbedeutet auch, in seiner mitteldeutschen Heimatregion aktiv zu sein und das Netz enger zu knüpfen. Hier liegt sein Woher, hier kann man erfahren, was den Meister prägte und formte, damit er in Franken das hinterlassen konnte, was manche heute für das einzig Wahre an Wagner halten. Doch so schlicht ist die Geschichte nicht. Deshalb machte sich aus Anlass des 240. Geburts tages von Richard Wagners Mutter Johanne Rosine, geb. Pätz, eine kleine Abordnung von Mitgliedern des RichardWagnerVerbandes aus Leipzig auf den Weg nach Weißenfels. In der Marienstraße 23, zwischen Rathaus und Marienkirche, stand einst das Haus, in dem Wagners Mutter am 19. September 1774 als Tochter eines Weißbäckers geboren wurde. Am 21. September 1774 wurde sie in der Stadtkirche St. Marien getauft. In der Kirche St. Sebastian zu Pötewitz, unweit von Weißenfels, heiratete sie am 28. August 1814 ihren zweiten Ehemann, den Maler und Schauspieler Ludwig Geyer. Dort wurde im vergangenen August mit einem Konzert des Reußischen Kammerorchesters an die Ehe schließung vor 200 Jahren erinnert. Mit einer kleinen Feier unter freiem Him Die Mutter Johanne Rosine Wagner mel an dem beeindruckenden Findling, der sich seit 2012 auf Initiative unseres Verban 19. September 2014, ihrem 240. Geburtstag, und zitierte aus Richards Briefen an seine des als Gedenkstein an der Stelle des 1982 gedacht. Der Weißenfelser Oberbürgermeister Mutter. Gemeinsam legten dann Oberbürger abgerissenen Geburtshauses von Richard Robby Risch, begleitet von einigen seiner Mit meister Risch und Frau Asperger ein großes Wagners Mutter befindet, wurde ihrer am arbeiter, Pressevertretern und Bürgern seiner Blumengebinde mit der Widmung »Für eine Stadt, begrüßte die Gäste mit den Worten: starke Frau« am Gedenkstein nieder. -
Wagner Intoxication
WAGNER INTOXICATION: LISTENING TO GOTTFRIED H. WAGNER — 1/27/21, Holocaust Remembrance Day “The Truth Nobody Wants to Hear” From Left: Michael Shapiro, Gottfried Wagner, John Corigliano, William M. Hoffman, Lawrence D. Mass, 1995, at the home of Michael Shapiro, Chappaqua, New York _________ Lawrence D. Mass, M.D., a specialist in addiction medicine, is a co- founder of Gay Men’s Health Crisis and was the first to write about 1 AIDS for the press. He is the author of We Must Love One Another or Die: The Life and Legacies of Larry Kramer. He is completing On The Future of Wagnerism, a sequel to his memoir, Confessions of a Jewish Wagnerite. For additional biographical information on Lawrence D. Mass, please see: https://en.wikipedia.org/wiki/Lawrence_D._Mass Larry Mass: For Gottfried Wagner, my work on Wagner, art and addiction struck an immediate chord of recognition. I was trying to describe what Gottfried has long referred to as “Wagner intoxication.” In fact, he thought this would make a good title for my book. The subtitle he suggested was taken from the title of his Foreword to my Confessions of a Jewish Wagnerite: “Redemption from Wagner the redeemer: some introductory thoughts on Wagner’s anti- semitism.” The meaning of this phrase, “redemption from the redeemer,” taken from Nietzsche, is discussed in the interview with Gottfried that follows these reflections. Like me, Gottfried sees the world of Wagner appreciation as deeply affected by a cultish devotion that from its inception was cradling history’s most irrational and extremist mass-psychological movement. -
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. -
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. -
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. -
Walk of Wagner in Bayreuth
heute 1883 1872 Richard Wagner dirigiert am 22.5.1872 Beethovens 9. Synphonie G. Bechstein, 1876 Der Trauerzug mit der Leiche Richard Wagners Weltkulturerbe Opernhaus Festspielhaus am Grünen Hügel Ankunft am BahnhofRichard-Wagner-Stationen in Bayreuth Tourist-Information 1860 wurde hier schon im Beisein von König Maximilian II. von Bayern Richard Auf der ganzen Welt gibt es kein Opernhaus, das dem Werk nur eines Als Wagner 1872 mit seiner Familie nach Bayreuth zog, stand hier noch der Festspielhaus Richard-Wagner-Museum Tourist-Information Wagners Tannhäuser aufgeführt. 1870 wurde es Wagner – er lebte damals Künstlers gewidmet wäre. Für diesen kulturpolitischen Traum hat Richard alte Bahnhof. 1876 – im Jahr der ersten Festspiele – waren die geplante zwei- Grüner Hügel Haus Wahnfried. Träger: & Bayreuth Shop noch in Tribschen in der Schweiz und war auf der Suche nach einem Ort für Wagner gekämpft in einer Zeit, als das Urheberrecht noch in den Anfängen te Eisenbahnverbindung nach Nürnberg und der neue Bau erst in Arbeit. Richard-Wagner-Stiftung Bayreuth Opernstraße 22 / 95444 Bayreuth seine eigenen Festspiele – von Dirigent Hans Richter wegen seiner überdimen- steckte, an anderen Theatern Aufführungen fast ohne Proben stattfanden, 1879 war er endlich vollendet und Cosima konnte am 23. September in ihr Leitung: Dr. Sven Friedrich Tel. 0921-885 88 sional großen Bühne gerühmt. Als Richard und Cosima 1871 den Bau besichtig- die Sänger schlecht – und schon gar nicht schauspielerisch – ausgebildet waren, Tagebuch schreiben: „Im neuen Bahnhof, der R. viele Freude macht, Bier Wegen umfassender Sanierung, Mail: [email protected] ten, stellten sie allerdings fest, dass die spätbarocke Ausstattung mit Apoll und Musiker ohne soziale Absicherung im Range von Dienstboten entlohnt wur- getrunken. -
DRAGANA JEREMIĆ-MOLNAR PARSIFAL on the STAGE. the QUESTION of HISTORICAL TRUTHFULNESS Lecture Typology Seminar This Course Addresses to MA and Phd Students
DRAGANA JEREMIĆ-MOLNAR PARSIFAL ON THE STAGE. THE QUESTION OF HISTORICAL TRUTHFULNESS Lecture Typology Seminar This course addresses to MA and PhD students. Introduction Parsifal has special place not only in Wagner’s oeuvre but in the history of opera (performance) as well. Wagner was rather silent about all the layers of meanings and sacral symbols he provided Parsifal with, yet he believed that work’s ideological and regenerative message could be correctly decoded in special acoustics and atmosphere of Bayreuth theatre. Up to World War II Wagner’s stage directions were strictly followed which enabled Bayreuth spectators to experience Bühnenweihfestspiel in accordance with his wishes. Wieland Wagner’s 1951 Bayreuth Parsifal was the first expression of growing discomfort with this work and the first step in altering composer’s stage directions and overall vision. The next, more radical step was Adorno’s lecture “Wagner’s Aktualität” (1963). Adorno contributed to performance history of Parsifal by advocating (a) work’s “ambivalence”—its musical progressivity, and reactionary and meaningless “rest”—and (b) the “abandonment of ideology”. He started academic discussion about historical truthfulness of Richard Wagner’s Parsifal and proved to be the theoretical support for later, experimental, and sometimes arbitrary productions. There is, however, no consensus on truthfulness among contemporary directors of Parsifal. For some of them to be true to Wagner means to tell old stories in an old (Wagnerian) way and to let the audience find the meanings; for the others to be Description true to Wagner means to present on stage his character of Janus and—ultimately— to be caught up in the (political, social, economic) ambivalences of the contemporary world. -
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]. -
Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911).