Reviews & Interviews
Our archived blog, available for all to peruse, compiled by many BWS contributors.
Interview with Katherine Goforth and Jane Eaglen
Enjoy this enlightening interview with transgender tenor, Katherine Goforth, discussing the future of opera and the performance of Richard Wagner with our beloved BWS President, Jane Eaglen. She is a Boston Wagner Institute alumna and has had a growing career ever since.
This is a preview for her upcoming concert with us, "Wagner as a Bridge: Singing Beyond Boundaries."
March 15, 7 pm | First Church Boston, 66 Marlborough St, Boston MA
Free for members! GA: $35 | STUDENTS: $10 | Tickets are available on our website and at the door!
The Ring As A Whole: Embracing Die Walküre
Die Walküre is, among other things, an allegory of the waning of religious belief and its direct influence on human affairs. Wotan, fearing that the gods’ days are numbered, and striving to ensure the survival of man’s religious impulse through the influence of his (religion’s) moral idealism on the social conscience of the revolutionary hero Siegmund, is forced to acknowledge that Siegmund’s heroism and love, his moral impulse to sacrifice himself for others, are merely the product of Wotan’s own fear and self-deception. The atheist philosopher Ludwig Feuerbach contended that the only truly good gift which Christianity bestowed to our modern world was its moral advocacy of sacrificing oneself for others. Siegmund offers himself as a love sacrifice both for a total stranger, who has been coerced into a loveless marriage by her brothers, and for his own sister-bride, Sieglinde (likewise the victim of a loveless marriage), and renounces any hope of heaven, any divine co! mpensation for his earthly struggles.
The Ring As A Whole: Embracing Das Rheingold
Can we understand Wagner’s Ring as one coherent, unified argument? The consensus is that having taken so long to conceive, write, and compose its libretto and music, Wagner produced a work that cannot be understood as a single dramatic argument.
Wagnerian scholars generally assume that the Ring’s “meaning” is primarily subliminal, or musical, and therefore inaccessible to any reasoned discussion. Imagine what might happen, though, if someone could convincingly demonstrate that the Ring is not a haphazard assortment of Wagner’s various obsessions but a conceptually unified whole whose every detail plays a unique role in making a coherent dramatic argument.
The Ring As A Whole: Embracing Siegfried
In Siegfried, Wotan tells Alberich that he is no longer competing with him for the Ring because he has given up trying to change the world (for the better), and from now on he will only observe it. With this statement, Wotan proclaims that art is free from the fear of truth. However, Wotan’s religious renunciation of the world is echoed in Siegfried when the hero reflects that his mother died giving birth to him, unwittingly declaring himself heir to Wotan’s sin of matricide (in his renunciation of the world, Wotan gives up the truth, Mother Nature).
The Ring As A Whole: Embracing Götterdämmerung
Twilight of the Gods opens with music from Siegfried, to which our hero woke Brünnhilde, because this final drama recounts the tragic consequences of Siegfried’s involuntary betrayal of the secret of unconscious artistic inspiration and humankind’s forbidden hoard of self-knowledge. In fact, Siegfried unwittingly predicts that he will betray his muse, Brünnhilde. This happens in the following way: Brünnhilde declares that her love for Siegfried would have no use unless it can inspire Siegfried to undertake new adventures, heroic deeds of art. Brünnhilde also reminds Siegfried that “What gods [that is, Wotan] have taught me I gave to you: a bountiful hoard [Hort] of hallowed runes.” Siegfried responds by saying, “You gave me more, o wondrous woman, than I know how to cherish [keep, or guard]: chide me not if your teaching left me untaught!” thus providing a summary of the entire plot of Twilight of the Gods.
George London: A Life Well Lived
George London: Of Gods and Demons, by Nora London; Baskerville Publishers, Great Voices 9, 262 pp., with 24 photographs, a CD with rare live recordings, a chronology, and a discography; $39.95
Peter Seiffert: A Tannhäuser to Be Reckoned With
Tannhäuser
Orchester der Oper Zurich, cond. Franz Welser-Möst, Chor des Opernhauses Zurich
Tannhäuser: Peter Seiffert; Elisabeth: Solveig Kringelborn; Venus: Isabelle Kabatu; Wolfram von Eschenbach: Roman Trekel; Hermann, Landgraf: Alfred Muff
Running time: 187 mins. on one DVD
Audio content: linear PCM stereo, Dolby 5.1 surround, DTS 5.1 surround
NTSC system 16:9
Sung in German, with subtitles
EMI Classic
Rating: ***
Karl Wee: “Toronto’s Walküre, a Mixed Bag”
This is a good-news, bad-news story. I usually consider it worth the expense and trouble to see a Ring performance live, and, in the final analysis, this was no exception, but I had significant problems with it.
Fighting Over a Bed Sheet: Siegfried in Stuttgart
Siegfried, by Richard Wagner, recorded live on 1 October 2002 and 5 January 2003
Staatsoper Stuttgart, Staatsorchester Stuttgart, cond. Lothar Zagrosek
Stage direction and dramaturgy: Jossie Wieler and Sergio Morabito
Siegfried: Jon Fredric West; Mime: Heinz Göhrig; Der Wanderer: Wolfgang Schöne; Alberich: Björn Waag; Fafner: Attila Jun; Erda: Helene Ranada; Brünnhilde: Lisa Gasteen; Der Waldvogel: Gabriela Herrera
Audio: DD.5.1, DTS 5.1 PCM Stereo
Video: 16:9Length: 251 mins.
Studio: EuroArts TDK SWR
Rating: **
Uninspired Kitsch: Götterdämmerung in Stuttgart
Götterdämmerung, by Richard Wagner, recorded live on 3 October 2002 and 12 January 2003
Staatsoper Stuttgart
Saatsorchester Stuttgart, cond. Lothar Zagrosek
Directed for the stage by Peter Konwitschny
Brünnhilde: Eva-Maria Westbroek; Siegfried: Albert Bonnema; Gunther: Hernan Iturralde; Gutrune: Tichina Vaughn; Hagen: Roland Bracht; Alberich: Franz-Josef Kapellmann; First Norn: Janet Colins; Second Norn: Lani Poulson; Third Norn: Sue Patchell
Audio: DD5.1, DTS 5.1, PCM Stereo
Video: 16:9 anamorphic
Length: 269 mins.
Studio: EuroArts TDK SWR
Rating: *1/2
Fliegende Holländer Symposium Soars
On March 14 several opera scholars and performers of Der fliegende Holländer’s concert version at Symphony Hall gathered at Harvard University to present a symposium entitled “New Perspectives on Wagner’s The Flying Dutchman.” The three panels of the symposium were titled “Deconstructing Senta,” “Illusion and Fantasy in The Flying Dutchman,” and “The Flying Dutchman in Performance.” By far the most interesting for a Wagnerite was the third topic, with Juha Uusitalo (the Dutchman), Alfons Eberz (Erik), Paul Groves (the Steersman), and conductor James Levine on the panel.
A Stunning Meistersinger von Nürnberg
Die Meistersinger von Nürnberg
Deutsche Oper Berlin
Chorus and Orchestra of the Deutsche Oper Berlin
Cond. Rafael Frühbeck de Burgos
Hans Sachs: Wolfgang Brendel; Eva: Eva Johansson; Walther von Stolzing: Gösta Winbergh; Pogner: Viktor von Halem; Beckmesser: Eike Wilm Schulte; Magdalena: Ute Walther; David: Uwe Peper
Running time: 266 minutes on 2 DVDs
PCM Stereo 16:9 Color
Art Haus Musik. 100153
Rating****1/2
Karl Wee: “The Eos’s Abridged Valkyrie”
The Valkyrie, Eos Orchestra, March 20, 2006, Skirball Hall, New York University, orchestrated by Jonathan Dove, conducted by Jonathan Sheffer, stage direction by Christopher Alden
Sanford Sylvan, Wotan
Meryl Richardson, Brünnhilde
Michal Shamir, Sieglinde
Charles Hens, Siegmund
Linda Pavelka, Fricka
Ethan Herschenfeld, Hunding
John Tomlinson’s Raw, Wild Wotan
Die Walküre
Bayerische Staatsoper
Zubin Mehta, conductor
Farao Classics, CD and DVD-A surround sound
Siegmund: Peter Seiffert; Sieglinde: Waltraud Meier; Wotan: John Tomlinson; Brünnhilde: Gabriele Schnaut; Hunding: Kurt Rydl; Fricka: Mihoko Fujimura
Live recording.
Time: 3:45:43
Rating ***
Met Orchestra Brilliant in Lohengrin: May 2006
Lohengrin, May 3, 2006; Metropolitan Opera, cond. Philippe Auguin; Herald: Charles Taylor; King Henry; René Pape; Telramund: Greer Grimsley; Elsa: Karita Mattila; Lohengrin: Klaus Florian Vogt (debut); Ortrud: Margaret Jane Wray; production: Robert Wilson.
The Met’s production of Lohengrin this season featured the stage design of Robert Wilson. Ac-cording to a recent review in the New York Times, when Wilson’s ideas were unveiled in the 1998 Metropolitan Opera production of this work, they drew lusty boos from the audience. Apparently, less robotic movements by the singers and improved synchronization have helped Wilson’s vision come through (there were no boos this time).
The Ring Cycle at the Met: Two Reviews
Das Rheingold: March 20; Die Walküre: April 3; Siegfried: April 17; Götterdämmerung: April 24; conducted by James Levine; stage director: Stephen Pickover. Fricka and Waltraute: Yvonne Naef; Wotan and the Wanderer: James Morris; Freia: Jennifer Welch-Babidge; Alberich: Richard Paul Fink; Loge: Philip Langridge; Mime: Gerhard Siegel; Erda: Elena Zaremba; Fasolt: Evgenij Nikitin; Fafner (in Das Rheingold) and Hunding: Sergei Koptchak; Froh: Mark Baker; Donner and Gunther: Alan Held; Siegmund: Placido Domingo; Sieglinde: Deborah Voigt; Brünnhilde: Jane Eaglen; Siegfried: Jon Fredric West; Fafner (in Siegfried) and Hagen: Matti Salminen; Forest Bird: Joyce Guyer; Gutrune: Margaret Jane Wray.
Marion Dry and Jeffrey Brody Thrill Their Audience
On March 26 the chapel at First Church of Boston resounded with magnificent music making. Contralto Marion Dry and pianist Jeffrey Brody performed a full and unusual program consisting of songs by Wagner father and son, as well as Wagnerian operatic excerpts and Elgar’s Sea Pictures. Dry’s excellent musicianship, coupled with her impressive range, terrific intonation, and colorful hues, was enchanting. And Brody’s expert accompaniment sounded more romantic than ever. The small audience of about 21 people (only 5 of whom were members of the BWS) was greatly appreciative of these talented musicians’ generous outpouring. By the end of the concert, numerous smiling faces and satisfied expressions could be spotted.
Wagner’s Life on the Silent Silver Screen: Two Reviews of “The Life of Richard Wagner”
Like the Dutchman’s ship, a relic of the past trailing innumerable questions in its wake, the 1912 silent film The Life of Richard Wagner flashed vividly on the screen at the Boston Public Library on Sunday, February 13, before disappearing once again to an uncertain fate.
– William Fregosi
Since the very beginning of the film industry, the lives of celebrities have been a popular source of movie material. The tumultuous life of Richard Wagner has been made into several “biopics,” including the 1956 Hollywood movie Magic Fire and the nine-hour 1983 BBC miniseries Wagner, starring Richard Burton. Considerably less detailed than the latter but more entertaining is The Life of Richard Wagner.
– Delia Lyons
Karl Wee: “Bayreuth Festival 2005, A Report”
Performances Attended:
Tristan und Isolde, July 25; conductor: Eiji Oue; director: Christoph Marthaler; Tristan: Robert Dean Smith; Isolde: Nina Stemme; King Mark: Kwanchul Youn; Kurwenal: Andreas Schmidt; Brangäne: Petra Lang
Lohengrin, July 26; conductor: Peter Schneider; director: Keith Warner; Lohengrin: Peter Seiffert; Elsa: Petra-Maria Schnitzer; Telramund: Hartmut Welker; Ortrud: Linda Watson; King Heinrich: Reinhard Hagen
Der fliegende Holländer, July 27; conductor: Marc Albrecht; director: Claus Guth; Dutchman: Jukka Rasilainen; Daland: Jaakko Ryhaenen; Senta: Adrienne Dugger; Erik: Endrik Wottrich
Tannhäuser, July 28; conductor: Christian Thielemann; director: Philippe Arlaud; Tannhäuser: Stephen Gould; Elisabeth: Ricarda Merbeth; Wolfram: Roman Trekel; Landgrave: Guido Jentjens; Venus: Judit Nemeth
Parsifal, July 29; conductor: Pierre Boulez; director: Christoph Schlingensief; Parsifal: Alfons Eberz; Amfortas: Alexander Marco-Buhrmester; Gurnemanz: Robert Holl; Kundry: Michelle de Young; Titurel: Kwangchul Youn; Klingsor: John Wegner
Wagner at Tanglewood: Two Reviews
July 16, 2005, Act 1 of Die Walküre and Act 3 of Götterdämmerung, Tanglewood Music Center Orchestra conducted by James Levine; Sieglinde and Brünnhilde: Deborah Voigt; Siegmund: Clifton Forbis; Hunding: Stephen Milling; Siegfried: Christian Franz; Gunter: Alan Held; Gutrune: Melanie Diener; Hagen: John Cheek
The Tanglewood concert was reviewed by two members. Larry Bell, who by his own admission has been a “Ringhead” since 2000, was present at the performance. Joseph Manley, a bass, listened to the concert on the radio in Montréal.