Bayreuth Hollaender review
pin...@my-deja.com
Hollaender' has appeared in "Sueddeutsche Zeitung", 7/27/99.
http://www.sueddeutsche.de/news/kultur.szml?ID=933097389
Entzücken über Dorns «Holländer» und seinen Hut
Bayreuth (dpa) - Quicklebendig wie eh und je
präsentierte sich am Montag abend bei den
Richard-Wagner-Festspielen in Bayreuth «Der
fliegende Holländer» in einer aus dem Jahre 1990
stammenden Inszenierung von Dieter Dorn.
Schon bei der Eröffnung 1998 hatte sich die nach
vierjähriger Pause aufpolierte Fassung als
Publikumsrenner erwiesen. Nach der diesjährigen
Premiere scheint sie es zu bleiben, denn der Jubel der
Zuschauer kannte wieder keine Grenzen. Cheryl
Studer in der Rolle der Senta scheint ihre Stimmkrise
restlos überwunden zu haben, und der inzwischen zur
Legende gewordene Schlapphut des Holländers fällt
weiterhin nicht vom Stuhl, wenn die quittengelbe
Spinnstube kopfsteht.
Da sich Festspielleiter Wolfgang Wagner zum
künftigen Schicksal dieses «Holländer» wenige
Stunden vor der Aufführung nicht detailliert geäußert
hat, wird wohl davon auszugehen sein, daß das
Werk in dieser Fassung weiterhin auf dem
Festspielplan bleibt. Es dürften sich also noch weitere
Jahrgänge von Bayreuth-Pilgern an den üppigen
Regieeinfällen Dorns und seines Bühnen- und
Kostümbildners Jürgen Rose erfreuen. Denn nicht
nur die ideenpralle, um sich selbst kreisende
Spinnstube gehört zu den Attraktionen der
Aufführung, sondern auch die Art, wie Dorn mit den
Matrosen des gierigen Kaufmanns Daland - glänzend
in dieser Rolle Hans Sotin - und der lemurenhaften
Besatzung des Holländers umgeht. Hier treffen naiver
Gespensterglaube und gespenstische Realität
aufeinander und es finden sich schöne Beispiele für
Massenhysterie und alkoholumnebelte Phantasien.
Freilich ist es Dorn noch immer nicht gelungen,
einigermaßen glaubwürdig mit Chormassen
umzugehen, die es im «Holländer» reichlich gibt. So
wirken die Purzelbäume der Daland-Mannschaft
beim Erscheinen der Holländer-Leute ziemlich
lächerlich. Dagegen sind die Einzel- Begegnungen
exakt und psychologisch überzeugend
herausgearbeitet - eine unbestrittene Stärke des
Regisseurs.
Ebenso unbestritten ist die musikalische Qualität der
Aufführung. Ob es die vorzüglich von Norbert
Balatsch geführten Chöre sind oder das von Peter
Schneider befeuerte Festspielorchester - da bleiben
keine Wünsche offen. Dazu die Solisten. Da waren
eine stimmlich befreit erscheinende Cheryl Studer als
Senta, ein schöner Bariton von Alan Titus in der
Titelrolle und die vielversprechenden Tenöre des
Jorma Silvasti als Erik und von Torsten Kerl als
Steuermann zu hören. Ein Stromausfall, der den
poetischen Auftakt durch grelles Notlicht verdarb,
vermochte dem Gesamteindruck nicht zu trüben.
Der etwas überraschende Schluß - Senta stirbt
keineswegs den von Wagner für sie vorgesehenen
Opfertod, sondern sinkt nach gehöriger
Ohnmachtspause ihrem verehrten Holländer am
Bühnenrand entgegen - hinderte das Publikum nicht
an den gewohnten Ovationen für eine vom Sagen- ins
Märchenhafte gewandelte Holländer-Welt.
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Erlösung unter - meist - positiven Vorzeichen
Dieter Dorns "Fliegender Holländer" geht endgültig in den Ruhestand,
und viele werden dieser Produktion nachtrauern
BAYREUTH
Von Alexander Dick
So ist das im Theater. Da beginnt eine Wiederaufnahme-Premiere
ausgerechnet in ihrem letzten
Jahr mit einem Stromausfall und sorgt für bange Sekunden im plötzlich
durch das Notaggregat
gespenstisch erleuchteten Zuschauerraum. Die Auswirkungen auf die
musikalische Qualität sind
ungeahnt, es fehlt im Folgenden an Spannung und an Kontinuität, die
szenischen Pannen finden ihr
Pendant auf klanglicher Ebene. Und dann entwickelt diese Produktion
plötzlich eine solche
Eigendynamik, daß man am Ende "nur noch" von Festspielformat sprechen
kann. So geschehen
beim "Fliegenden Holländer" im Festspielhaus, dem definitiv letzten aus
dieser Serie.
Keine Frage: Wenn jene Inszenierung von Dieter Dorn (Regie) und Jürgen
Rose (Ausstattung) am
Ende der Festspielzeit den Weg in den wohlverdienten Ruhestand geht,
werden ihr nicht wenige
nachtrauern. Das liegt an der Plastizität, an der Farbigkeit, vor allem
an der Komödiantik, mit der
Dorn das Stück in Szene gesetzt hat, weniger den Erlösungsaspekt in den
Vordergrund stellend als
jene Urtheatralik, die Wagner mit dem ihm eigenen, sicheren
Bühneninstinkt aus den beiden
Komponenten Tragödie und Komödie im "Holländer" entwickelt hat. Dorn
und Rose haben aus
Wagners erstem großen Wurf opulentes, kulinarisches Erlösungstheater
ganz im Sinne
romantischer Ironie kreiert; die dunklen, tiefenpsychologischen
Visionen bleiben außen vor. Selbst
des Holländers Mannschaft hat trotz aller "berufsmäßig" zu Werke
gehenden Schaurigkeit eine
wenn schon nicht komische, so doch tragikomische Komponente. Das ist so
ähnlich wie in den
amerikanischen Gruselfilmen, die bei allem Nervenkitzel auch eine
gewisse Behaglichkeit
ausstrahlen. Dorn spielt den jugendlichen Überschwang des tragischen
Pathos' in diesem Stück auf
ein kontrolliert' Maß an Heinescher Ironie herunter - das ist das
Geheimnis des ungebrochenen
Charismas dieser Inszenierung.
Somit konzentriert sich also noch einmal alles Augenmerk auf die
musikalische Qualität dieser
Produktion. Nach dem Lapsus gleich zu Beginn der szenisch ausgedeuteten
Ouvertüre war auch
diese in Gefahr. Peter Schneider mußte im Vorspiel offenkundig nur noch
auf zeitliche Parallelität
zur unterbrochenen Szene bedacht sein, wodurch die Ouvertüre gleichwohl
über Potpourricharakter
nicht mehr hinauskam. Was sich im Verlauf des I. und zum Teil noch II.
Aufzuges alles an
musikalischen Strukturen offenbarte, unterlag deutlichen
Qualitätsschwankungen. Darunter litt zum
Beispiel im besonderen der Auftritt des Holländers. Alan Titus,
obgleich sicherer als bei seinem
Debüt im Vorjahr, vermochte nicht aus den formalen Unregelmäßigkeiten
seiner Auftrittsnummer
Profit zu schlagen. Alles klingt zu sehr konstruiert, nach Nummernoper,
außerdem mangelt es dem
Sänger deutlich an der erforderlichen Tiefe.
Auch im II. Aufzug sind Qualitätsschwankungen noch zu spüren. Cheryl
Studer singt ihre
Senta-Ballade hochmotiviert und detoniert ausgerechnet mit geradezu
metrischer Regelmäßigkeit
immer an derselben Stelle am Ende der ersten Refrain-
Phrase. Aufregung? Unruhe?
Und dann folgt dieser famose Umschwung, der mit der Begegnung Sentas
mit dem Holländer
eingeleitet wird. Die Aufführung gewinnt deutlich an Spannung und
Suggestion, ja an Magie. Es
knistert musikalisch zwischen Senta und dem Holländer, die beiden
Sänger steigern sich bis in die
heftigste Emphase. Wie aus der Ferne längst vergangener Zeiten
entwickeln Studer und Titus jene
musikdramatische Qualität in der Syntax von Wagners Tonsprache, die
schon deutlich auf das
Fernziel "Ring" hindeutet.
Geradezu phänomenal wird es im III. Akt, an dem natürlich schon die von
Norbert Balatsch in
jeder Hinsicht hochmotivierten, auf ein erstaunlich Maß an Perfektion
eingestellten Chöre ihren
Anteil haben: Chor und Sonderchor vereinigen sich zu einer wunderbaren
künstlerischen Phalanx,
in der die kontrapunktischen Gewebe des jungen Wagner wunderbar zum
Ausdruck kommen. Und
dann ist da dieses Finale mit einer mehr und mehr zur dramatischen
Hochform auflaufenden Cheryl
Studer: All ihre Kritiker Lügen strafen - das gelingt der Sängerin hier
sowohl im darstellerischen
wie vor allem auch sängerischen Sinne. Und Alan Titus zieht mit und
kann die physische Spannung
in eine phänomenal klangliche umsetzen. Unterstellt man einmal, daß
diese Produktion im idealen
Rahmen, also ohne jedwede negativen äußeren Einflüsse und Pannen
abläuft, so kann sie in kaum
zu übertreffender Qualität stattfinden, nicht zuletzt dank dieser
beiden wunderbaren,
hochemotionalen Sänger.
Natürlich auch dank eines Festspielorchesters, das bereitwillig
mitzieht, das auf seine klanglichen
Tugenden nicht vergißt und das hochdifferenziert, elektrisierend zu
musizieren versteht.
Hans Sotins Daland trägt seiner insistierten komödiantischen Komponente
Rechnung; er spielt
diesen "Kuppler wider Willen" mit Nonchalance und Kezalscher Schläue.
Einen stimmlich äußerst
präsenten, hochtransparenten Steuermann singt Torsten Kerl. Ein
zufriedenstellendes Debüt als
Erik gibt Jorma Silvasti, vom Volumen her gut proportioniert, in der
Tonqualität aufgrund einiger zu
heftiger Schwingungen nicht immer ganz zufriedenstellend. Marga Schimls
Mary schließlich trifft
überzeugend den Gouvernantenton.
Somit findet diese in der Publikumsgunst ohnedies schon immer weit oben
stehende Produktion mit
dieser Festspielsaison ihre Erlösung unter vorwiegend positiven
Vorzeichen. Aufgrund ihrer von
aller Aktualität losgelösten, zeitlosen Botschaft könnte man sie
vermutlich noch über viele Jahre
hinweg im Spielplan mitführen. Doch selbst überwiegend beglückende
Produktionen "reißen", um
Wagners Matrosen zu zitieren, "nicht in Ewigkeit". Auch das ist
wiederum so im Theater.
Matthew B. Tepper
what I'm pondering as follows...
>
>A review of Bayreuth's 7/26/99 performance of 'Der fliegende
>Hollaender' has appeared in "Sueddeutsche Zeitung", 7/27/99.
>
>http://www.sueddeutsche.de/news/kultur.szml?ID=933097389
>
>Entzücken über Dorns «Holländer» und seinen Hut
If Herr Doktor Professor Cowan has the time, I'd like to see him
translate or at least synopsize this.
--
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pin...@my-deja.com
duckyþ@deltanet.com (Matthew B. Tepper) wrote:
> If Herr Doktor Professor Cowan has the time, I'd like to see him
> translate or at least synopsize this.
Here's another one fit for translation, from the
"Frankenpost Zeitungen", 7/28/99.
http://frapo.hof.baynet.de/artikel/kuwo/27d02473.htm
Das Bayreuther Festspielpremieren-Karussell dreht sich
weiter
Die Frist ist um: Abflug
für den Holländer
Von Michael Thumser
BAYREUTH. - Was dem ,,Lohengrin'' zum Bayreuther
Festspielstart zu fehlen schien, hatte der ,,Fliegende
Holländer'' zuviel: Helligkeit. Den Premierengästen am
Montag ging unerwartet ein Licht auf, als mitten in den
rauschenden Klang- und Meereswogen des
Orchestervorspiels Scheinwerfer im Zuschauerraum
blendend erstrahlten. Wenig später verstummte die Musik
schlagartig - und das ratlose Publikum rechnete schon mit
dem Schlimmsten: Tritt womöglich gleich
Festspielintendant Wolfgang Wagner vor den Vorhang,
einen Zwischenfall, eine Absage verkündend? Doch
nichts dergleichen: Das Licht erlosch alsbald, das
Orchester toste weiter, just jene Passage aufgreifend, da
es grad eben sich selbst das Wort abgeschnitten hatte.
Eine spektakuläre Panne, zu einer spektakulären
Inszenierung passend: Dieter Dorn, der Regisseur, und
sein Ausstatter Jürgen Rose setzen in ihrem ereignis- und
farbenreichen Spektakel bekanntlich auch auf den Gag,
auf Possierlichkeiten und betont naive Schauertricks.
Nicht eben als die tiefsinnigste, wohl aber als eine op
tisch besonders ausgewogene, in Formen und Farben,
auch in den Effekten vollendet komponierte Deutung
überzeugt die Produktion nach wie vor - und wurde
wieder mit ohrenbetäubendem Beifall quittiert. Auch weil
sie sich akustisch höchst attraktiv präsentiert: Am
Premierentag hieß Peter Schneider das energisch und
leidenschaftlich disponierte Festspielorchester so
manches instrumentale Glanzlicht aufsetzen.
Vor neun Jahren kam diese Regiearbeit heraus und
durchmaß mithin die sich neigenden Neunziger ganz.
Indes: ,,Die Frist ist um'', singt der (nicht vollständig
überzeugende) Alan Titus als seefahrender Titelheld,
wenn er endlich mal wieder an Land darf, nach Liebe und
Erlösung zu suchen. Die Frist ist um auch für diesen
Bayreuther ,,Holländer'', der nach gegenwärtigem
Sommer den Hügel räumt. Um einen würdigen Abschied
zu feiern, läßt sich die Darstellerriege kaum
Schwachheiten durchgehen. Besonders Cheryl Studer
vermag als Senta mitzureißen. Wuchtig von Erscheinung,
gibt sie auch ihrem dramatischen Sopran authentisches
Gewicht, das heißt Tiefe - weit mehr als im Vorjahr. Vom
neuen Lohengrin Roland Wagenführer übernahm Jorma
Silvasti die Rolle des Erik und fügt ihr handgreifliche
Verzweiflung hinzu: Vor nervöser Ungeduld, vor Angst
bebt seine Stimme und weiß sich doch mit Wärme zu
äußern; mit dem Holländer als Rivalen hat er allen Grund,
um seine Braut Elsa zu fürchten: Er packt sie, schüttelt
sie, geht ihr an die Kehle.
Für die kaum erreichbare Chorkultur des Bayreuther
Hügels pflegt gerade dieses Musikdrama bestechende
Beispiele zu geben. Im Schlußakt, wenn sich die
menschlichen Seeleute mit des Holländers lurchartigen
Geistermatrosen auf ein bewegtes Stimm- und
Handgemenge einlassen, wogen die Gesänge mit der
Gewalt und der Schönheit eines aufgeregten Meeres.
Norbert Balatsch schulte das Riesenensemble abermals in
Präzision und Gleichgewicht.
Nach vielen Jahren Erfolgsarbeit wird er dem Hügel
leider den Rücken kehren. Auch hier: Die Frist ist um.
Edward A. Cowan
> In article <7nl0mk$j7q$1...@nnrp1.deja.com>, pin...@my-deja.com pondered
> what I'm pondering as follows...
> >
> >A review of Bayreuth's 7/26/99 performance of 'Der fliegende
> >Hollaender' has appeared in "Sueddeutsche Zeitung", 7/27/99.
> >
> >http://www.sueddeutsche.de/news/kultur.szml?ID=933097389
> >
> >Entzücken über Dorns «Holländer» und seinen Hut
>
> If Herr Doktor Professor Cowan has the time, I'd like to see him
> translate or at least synopsize this.
Sorry: I tried to recover this item, but the article has already
disappeared from the website. If anyone can forward the text of this,
I'll have a look at it. (FWIW, I've had IPS problems in the last couple
of days...)
-- E.A.C.
Neil Fisher
translation of some of the 'relevant' parts of the articles. Well I hope
at least that it's better than altavista's translator, but the extremely
formal way German newspapers write is hell on earth to translate. Vis-a-
vis content - just don't shoot the messenger...
review #1
Entzücken über Dorns «Holländer»
Delight over Dorn's Hollaender...
...Schon bei der Eröffnung 1998 hatte sich die nach
vierjähriger Pause aufpolierte Fassung als
Publikumsrenner erwiesen. Nach der diesjährigen
Premiere scheint sie es zu bleiben, denn der Jubel der
Zuschauer kannte wieder keine Grenzen. Cheryl
Studer in der Rolle der Senta scheint ihre Stimmkrise
restlos überwunden zu haben...
...Already when the production opened in 1998 after a four year pause
the polished up setting proved itself to be a crowd-pleaser. And after
this year's premiere this seems to remain this case, since the cheering
of the audience again knew no bounds. Cheryl Studer in the role of Senta
appears to have totally overcome her voice crisis...
...Ebenso unbestritten ist die musikalische Qualität der
Aufführung. Ob es die vorzüglich von Norbert
Balatsch geführten Chöre sind oder das von Peter
Schneider befeuerte Festspielorchester - da bleiben
keine Wünsche offen. Dazu die Solisten. Da waren
eine stimmlich befreit erscheinende Cheryl Studer als
Senta, ein schöner Bariton von Alan Titus in der
Titelrolle und die vielversprechenden Tenöre des
Jorma Silvasti als Erik und von Torsten Kerl als
Steuermann zu hören. Ein Stromausfall, der den
poetischen Auftakt durch grelles Notlicht verdarb,
vermochte dem Gesamteindruck nicht zu trüben.
...Even so the musical quality of the performance is indisputable.
Whether that is down to the excellently led chorus under Norbert
Balatsch or the enthused orchestra under Peter Schneider. Here no wishes
were unfulfilled. At the same time the soloists. These were the
seemingly vocally liberated Cheryl Studer as Senta, the fine baritone of
Alan Titus in the title role and the promising tenors of Jorma Silvasti
as Erik and Torsten Kerl as the steersman. A power failure, which ruined
the poetic beginning on account of the glaring emergency lights, could
not cloud the general impression...
Der etwas überraschende Schluß - Senta stirbt
keineswegs den von Wagner für sie vorgesehenen
Opfertod, sondern sinkt nach gehöriger
Ohnmachtspause ihrem verehrten Holländer am
Bühnenrand entgegen - hinderte das Publikum nicht
an den gewohnten Ovationen/
...The somewhat surprising ending - Senta does not die at all as a
victim in the way Wagner had envisaged, but faints to the ground
opposite her beloved Dutchman on the edge of the stage - did not prevent
the audience from the usual ovation/
review #2:
Erlösung unter - meist - positiven Vorzeichen
Dieter Dorns "Fliegender Holländer" geht endgültig in den Ruhestand,
und viele werden dieser Produktion nachtrauern
Redemption under - mostly - good omens
Dieter Dorn's "Flying Dutchman" finally goes into retirement, and many
will mourn this production...
Auch im II. Aufzug sind Qualitätsschwankungen noch zu spüren. Cheryl
Studer singt ihre Senta-Ballade hochmotiviert und detoniert ausgerechnet
mit geradezu metrischer Regelmäßigkeit immer an derselben Stelle am Ende
der ersten Refrain-Phrase. Aufregung? Unruhe? Und dann folgt dieser
famose Umschwung, der mit der Begegnung Sentas mit dem Holländer
eingeleitet wird. Die Aufführung gewinnt deutlich an Spannung und
Suggestion, ja an Magie. Es knistert musikalisch zwischen Senta und dem
Holländer, die beiden Sänger steigern sich bis in die heftigste Emphase.
Wie aus der Ferne längst vergangener Zeiten entwickeln Studer und Titus
jene musikdramatische Qualität in der Syntax von Wagners Tonsprache, die
schon deutlich auf das Fernziel "Ring" hindeutet.
...Also in the 2nd Act one could still feel fluctuations in quality.
Cheryl Studer sings her ballad with the greatest motivation and
**manages of all things to explode with almost metric regularity always
at the same place, at the end of the first refrain phrase** (NOTE - it
seems as though I may have totally missed the point of this:-)).
Excitement? Unease? And then follows the famous turn-around, which
begins with Sentas meeting with the Dutchman. The performance gains in
tension and suggestion, of course in magic. The music crackles between
Senta and the Dutchman, both singers work themselves up until the most
intense climax. As if out of the far away distance of a long time ago
Studer and Titus develop that music-dramatic quality in the syntax of
Wagner's tone language, which already points clearly to the far off
destination of the Ring....
Geradezu phänomenal wird es im III. Akt... ...Und
dann ist da dieses Finale mit einer mehr und mehr zur dramatischen
Hochform auflaufenden Cheryl
Studer: All ihre Kritiker Lügen strafen - das gelingt der Sängerin hier
sowohl im darstellerischen
wie vor allem auch sängerischen Sinne. Und Alan Titus zieht mit und
kann die physische Spannung
in eine phänomenal klangliche umsetzen. Unterstellt man einmal, daß
diese Produktion im idealen
Rahmen, also ohne jedwede negativen äußeren Einflüsse und Pannen
abläuft, so kann sie in kaum
zu übertreffender Qualität stattfinden, nicht zuletzt dank dieser
beiden wunderbaren,
hochemotionalen Sänger.
...It becomes really phenomenal in act 3...and then that finale is
there with Cheryl Studer rising more and more to dramatic top-form: all
her critics belie her - the singer managed here both dramatically and
above all also in her vocal feeling. And Alan Titus goes along with it
and can convert physical tension into phenomenal sound. Supposing that
this production played in ideal conditions, i.e. minus the external
influences and goofs (NOTE: I presume this refers to the aforementioned
power failure), then it could hardly be bettered in quality, not least
thanks to these two wonderful, highly emotive singers.
review #3
Die Frist ist um: Abflug
für den Holländer
- The time is up: departure for the Dutchman
...
Indes: ,,Die Frist ist um'', singt der (nicht vollständig
überzeugende) Alan Titus als seefahrender Titelheld,
wenn er endlich mal wieder an Land darf, nach Liebe und
Erlösung zu suchen. Die Frist ist um auch für diesen
Bayreuther ,,Holländer'', der nach gegenwärtigem
Sommer den Hügel räumt. Um einen würdigen Abschied
zu feiern, läßt sich die Darstellerriege kaum
Schwachheiten durchgehen. Besonders Cheryl Studer
vermag als Senta mitzureißen. Wuchtig von Erscheinung,
gibt sie auch ihrem dramatischen Sopran authentisches
Gewicht, das heißt Tiefe - weit mehr als im Vorjahr/
..."The time is up" sings the (not completely convincing) Alan Titus as
the see-faring title hero, when he finally is permitted once again to
land, to search for love and redemption. The time is up also for this
Bayreuth 'Dutchman', which after the present summer is being retired. To
celebrate a worthy farewell, the team of singers hardly let any
weaknesses through. Cheryl Studer especially - one was carried away by
her performance. Powerful from her appearance, she gives an authentic
weight to her dramatic soprano, i.e. depth - far more than last year/
--
Neil
pin...@my-deja.com
Gabriel Bocanegra
pin...@my-deja.com
http://www.wienerzeitung.at/aaa/asp/zeigen.htm?ID=24369
Bayreuth: Wolfgang Wagner über die Zukunft
"Holländer", "Meistersinger", Hitler
Festspielleiter Wolfgang Wagner hat
Spekulationen über eine vage Zukunft der
Wagner-Festspiele zurückgewiesen. "Das Haus
ist bestellt und das in einem hervorragenden
Zustand", betonte der Enkel Richard Wagners
bei der Jahresversammlung der
Mäzenaten-Gesellschaft der Freunde
Bayreuths. "Weltweit stehen die Festspiele als
positiver Beitrag ganz Deutschlands zur
internationalen Kultur." Ohne auf die seit Jahren
im Raum stehende Frage nach seiner Nachfolge
einzugehen, sagte Wagner: "Ich werde weiter
dafür arbeiten, daß Bayreuth lebt." Riesenbeifall
gab es für den "Fliegenden Holländer" zur
Bayreuth-Eröffnung. Dieter Dorns
Alt-Inszenierung erwies sich als geglückter
Auftakt. Dirigent Peter Schneider erntete
frenetischen Applaus. Umjubelte Interpreten
und ein gefeierter Chor haben Richard Wagners
Oper "Die Meistersinger von Nürnberg" als
zweite Premiere des Eröffnungszyklus der
Bayreuther Festspiele am Sonntagabend zum
Sängerfest gemacht. Wie schon im
vergangenen Jahr, mischte sich erneut ein
Mißton in den Meistergesang: Konnte damals
Daniel Barenboim nur mit letzter Kraft zu Ende
dirigieren, so mußte jetzt Tenor Peter Seiffert
als Walther von Stolzing, schon als indisponiert
angekündigt, nach dem zweiten Akt aufgeben.
Robert Dean Smith, ohnehin für einige
Aufführungen der diesjährigen "Meistersinger"
vorgesehen, gewann das Herz von Emily Magee
alias Eva Pogner und das des Publikums im Nu.
Unterdessen sucht Festspielleiter Wolfgang
Wagner weiterhin nach einem neuen Regieteam
für die geplante "Lohengrin"-Neuinszenierung
bei den Richard-Wagner-Festspielen im Jahr
1999. Nach der überraschenden Absage des
bereits verpflichteten Regisseurs Willy Decker
konnte Wagner zum Auftakt der diesjährigen
Festspiele noch keinen Nachfolger präsentieren.
Verstörte Gäste am Abend der ersten Premiere:
Die Polizei mußte einen Leichenwagen, in dem
auf drei Monitoren
Wochenschau-Aufzeichnungen von Adolf Hitler
liefen, bei der Auffahrt zu den Festspielen aus
dem Verkehr ziehen. Der 32jährige Lenker
erklärte den Beamten, seine Aktion sei eine
"geistige Auseinandersetzung mit Kunst und
Gesellschaft". Wie die Polizei mitteilte, habe sie
bei dem Mann keinen rechtsextremen
Hintergrund feststellen können.
pin...@my-deja.com
http://www.rp-online.de/kulturnews/990729/bayreuth_holl_parsifal.shtml
Das rote Segel wogt dramatisch
"Fliegender Holländer" und "Parsifal" in Bayreuth
Von SEBASTIAN FELDMANN
Bayreuth (RP). Letztes Jahr gab es in Bayreuth
inclusive der auslaufenden "Ring"-Inszenierung von
Alfred Kirchner sieben Aufführungen (und keine
neue); diesmal sind es mit dem neuen
"Tannhäuser" fünf. Mit Freude sah man Dieter Dorns
"Holländer"-Wiederaufnahme unter Peter
Schneiders musikalischer Leitung: eine
starkfarbige, dämonische Inszenierung in Rot, Gelb
und Blau.
Es scheint indes Brauch zu werden, überlange
Ouvertüren oder Vorspiele (wie schon im "Lohengrin")
pantomimisch zu illustrieren. Hier klettert der Holländer
in seiner Verdammnis-Qual verzweifelt ein schräges,
weißes, wattiertes Dreieck hoch. Er rutscht, kollert
zurück, rappelt sich wieder auf, beginnt erneut - ganz
wie der Greis in Becketts "Glückliche Tage".
Dalands Schiff ist nur ein kleiner, grauer Nachen, hinter
dem sich der blutrote, windbewegte Wolkenvorhang
des Holländerschiffs dramatisch erhebt. Dalands Haus
dann, eine gelbe Giebelhütte, wo die Mädchen
spinnen; wo Senta das Holländer-Bildnis ansingt; wo
dieses Gemälde von selbst verbrennt, kurz bevor der
Meeresverdammte die Schwelle überschreitet.
Originell oder bloß gewollt?
Glänzende Bewegungsregie
Wenn Senta und der Holländer sich wortwörtlich
ineinander vergucken, hebt die gelbe Hütte ab nach
oben. Wenn sie vor dem Häuschen ihren Treue-Pakt
bekräftigen, dreht sich das langsam oben in der Luft -
und man denkt an den Hollywood- Film "A Cabin in
the Sky" oder auch an Chagall, auf dessen Bildern die
Physik ja auch nicht immer in Ordnung ist. Wird hier
"Bürgerlichkeit" auf den Kopf gestellt? Die ihren
Boden verliert? Also doch eher nur originell.
Beängstigend, wenn des Holländers Matrosen als
kahlköpfige Lemuren das Haus erklettern, wenn ihre
schwarzen Finger ins Gelb der Stube hereindrohen.
Daland ist gierig und gemütlich (Hans Sotin); Erik
(vorzüglich: Jorma Silvastri) ruppig, ja wütend bis zur
Tätlichkeit gegen Senta; man versteht ihn fast. Die
norwegischen Seeleute sind rohe Gesellen, denen man
den bösen Schreck durch des Holländers kriechende
Mannschaft direkt gönnt. Grandiose Chöre, glänzende
Bewegungsregie. Und Herzklopfen beim Zuschauer,
Zuhörer.
Regisseur Dieter Dorn lenkt seine Hauptfiguren Senta
und den Holländer klug nach der Musik aufeinander zu
oder voneinander weg. Kaum berühren die beiden
einander; es ist ein geistiger, kein sinnlicher Pakt, der
sie zueinandertreibt. Und man versteht das.
Grau und griesgrämig
Der Weltstar Cheryl Studer als Senta war sängerisch
bislang der Glanzpunkt dieser Saison (neben Gabriele
Schnaut als Elsa), mit Innigkeit und stählerner
Dramatik. Der Holländer von Alan Titus bewegte -
allerdings mehr stimmlich als darstellerisch. Er wurde
oft nur stehengelassen. Am Pult drängte mit großen
und effektvoll angelegten Fallhöhen der alte
Rheinopern-Bekannte Peter Schneider. - Ein
spannender Abend.
Wolfgang Wagners mehr als zehnjährige Inszenierung
des "Bühnenweihfestspiels" "Parsifal" unter Giuseppe
Sinopoli enttäuschte durch Langweile. Sie hatte immer
schon einen schlechten Ruf, den sie jetzt wiederum
trotzig bestätigte. Das halb heidnische, halb
frömmelnde, halb sinnliche, halb spirituelle Werk mag
man nun mögen oder nicht - so grau und griesgrämig
muß es nicht präsentiert werden.
Eine trübe, höhepunktlose Inszenierung. Kaum mehr
als ein Hauptdarsteller-Fest, das der Tenor Poul Eming
in der Titelrolle und die in vielfacher Hinsicht betörende
Violeta Urmana als Kundry miteinander ausfochten -
von der Personen-Regie weitgehend im Stich gelassen.
Und gegenüber den Dirigenten der Vorabende,
Pappano und Schneider, erwies sich Giuseppe
Sinopoli als schöntönender Langweiler.
Frank Schneiders
> Okay, everyone, here's a quick (and bad - practically pidgin in parts)
> translation
Oh, your translation is quite good, no reason for apologies. I wished my
English would be half as good.
There have been about seven or eight reviews I could trace on the WEB
(all in German).
They differ (as always) about the performance but nearly all agree that
Studer has obviously recovered her voice. If true this would be
wonderful news. This weekend will be a broadcast here in Germany.
Afterwards more.
--
Frank
http://members.aol.com/schoen1a/welcome/home.html
David Shengold
Does anyone know if the Bayreuth broadcasts will be on in the States? Some
NPR stations have carried them in the past. If Titus has smoothly made the
move up to heldenbariton and Studer has recovered her form in such a
difficult part as Senta, that will indeed be good news for Wagner And
Strauss performance worldwide.
David Shengold
----------
In article <1dvqs56.1b0...@dialup14-11.access.nacamar.de>,
frank_sc...@magicvillage.de (Frank Schneiders) wrote:
Ivan Lalis
started, it was said the performance is to be broadcasted by some Canadian
radio, too, forgot the name :(. But they also said it is a live broadcast
and it was not...
As for Ms Studer, she was really impressive in Senta's ballad, but she had
problems with both high and low tones. And during the performance she
developed very awkward vibrato - I checked the tuner whether there are
problems with a signal :-) I talked/wrote about the performance with a
friend of mine, before he posted a review to opera_l and we agreed on most
points he made in it. I would not say that Ms Studer was bad in overall, she
had very nice and impressive moments, too, but I would not call it very
good, either.
Ivan
Bart Thomas
move up to heldenbariton >>
He sang a very fine Barak in Berlin (DO) last fall. We're looking forward to
his Hollander.
Maryl & Bart
Enrique Eskenazi
Regards
---
Enrique
eske...@teleline.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
"Greetings to all,
yesterday the Bavarian radio gave us a broadcast of Wagner's "Flying
Dutchman", which was given in Bayreuth on July, 26th (last Monday).
Although
I'm not precisely a Wagner fan, I must admit that the Dutchman, along
with
Tannhaeuser, belongs to the Wagner operas I can hear now and then. I was
rather surprised actually that I still have the Dutchman "well in the
ears",
for having listened to it rather often years ago in the Bayreuth
recording
with Sawallisch and Anja Silja.
This time it was given as a one-acter, but I'll use the "classical"
three-act division in the following notes.
* The helmsman (Torsten Kerl) was a middle-class operetta tenor with
little
charm, who didn't make anything out of his first-act song.
* The Dutchman (Alan Titus) started in a rather unpleasant way: his low
notes were weak, his voice lacked substance, he hesitated between
slightly
sharp and slightly flat, in a word "Die Frist ist um" was not the
highlight
it is supposed to be. He improved gradually, though, up to a really
impressive third act.
*Daland (Hans Sotin) made it the other way: he was convincing in the
first
act with a full, well timbred voice. In the second act, however, as he
has
to sing a more "Weberian" music, he displayed a poor fraseggio and not
enough flexibility.
*Erik (Jorma Silvasti) had a full tenor voice, with beautiful colours
and
the ability to use them. He sang his part in quite a "belcanto" manner,
relying more on the opulence and the variety of his voice than on
exterior
effects and was thus particularly convincing.
*The chorus had intonation problems (tenors and sopranos) at the
beginning
but managed to solve them on time for the third act where they were
precise
and expressive.
* The conductor (Peter Schneider) was OK, sometimes confusing dramatic
tension with loudness, but with the proper sense for the different
aspects
of this "polystylistic" work without having them drift apart.
* Most awaited was Cheryl Studer as Senta. She started with an
expressive
ballad, although she had some difficulties in the exposed high notes of
the
second half of each verse and hardly managed the lowest tones.
Afterwards,
though, she displayed a tight vibrato which became more and more
intensive
and unpleasant and marred considerably her duets with Daland and with
the
Dutchman, which were thus out of balance.
On the whole, an acceptable performance, but hardly on the level that
one
is awaiting from a Bayreuth event.
Happy listening
Thierry Morice"
pin...@my-deja.com
the unanimous *rapture* about Studer's Senta (thus far at
least) from the German press, who were in attendance at
Bayreuth. That's about five or six reviews I have seen.
I look forward to hearing the broadcast sometime in the
near future. Perhaps a not-untypical situation where one
*had* to be in the house to fully appreciate the performance?
Just to show how interesting and subjective human ears can
be, another lister in opera-l stated that Studer was better
in last year's *magnificent* (his words) broadcast, which I
have not heard, but which by many accounts was not so good.
All the best,
Gabriel Bocanegra
---------------------
In article <7nthc5$bh9$1...@diana.bcn.ttd.net>,
daniel kessler
get his permission to reproduce his comments on the DUTCHMAN b'cast from
Bayreuth.
I've always found Thierry's comments to be pretty much on the mark.
pin...@my-deja.com
Presumably, you and Eskenazi find Thierry's comments to be much more
to your liking, much more *in tune* with your prejudices about that
*pestilence* named Studer, much more on the *pretty mark* so to speak.
If Thierry says so, then it must be so. What do those Germans know
after all? Who do they think they are? More to the point, who do you
think you are, Mr. Kessler?
Off-topic?: NO apologies from Wagner, NO apologies from Bayreuth, NO
apologies from the younger generation of Germans...
David Shengold
Now what about LAKE PLACID? That looks like it might be trashy in the right
way.
David Shengold
----------
David Shengold
"Der alte Sturm, die alte Mueh'!"
-Wotan, DIE WALKUERE, Act II
----------
Edward A. Cowan
> Okay, everyone, here's a quick (and bad - practically pidgin in parts)
> translation of some of the 'relevant' parts of the articles. Well I hope
> at least that it's better than altavista's translator, but the extremely
> formal way German newspapers write is hell on earth to translate. Vis-a-
> vis content - just don't shoot the messenger...
Thanks for your really very good translations from German reviews of the
Bayreuth _Dutchman_ production. (Translation, as distinguished from
reading or speaking, is a very tricky matter, but you have managed quite
well. But unless one is a really fluent speaker of both languages, a
translation from German into English is bound to have occasional stiff
joints, this due to the tendency of German syntax to get bogged down in
encapsulated modifiers. <g> )
For anyone who cares: May I pass on my little diagram of the sequence of
events in a German sentence? Here is what I teach my students
(monospaced font recommended):
Delarative sentence (independent clause):
__S__|__V1___|__t/m/p__|__Vc__V1c__
(X) | V1 S | t/m/p | Vc V1c
Subordinate clause (including relative clause):
__(S)__|_\/_|__t/m/p__|__Vc__V1c__||__V1__
(X) (S)| /\ | t/m/p | Vc V1c || V1
Key:
S = subject
V1 = main (inflected) verb
V1c = verb complement (infinitive, past participle, separable prefix,
predicate nominative/adjective)
Vc = objects, dative and accusative (sequence depends on various
factors)
t = time
m = manner
p = place
(X) = anything other than the subject, including material from t/m/p or
even a sequence of subordinate clauses, but also *nothing* (cf. the
computer maxim "No information is information"...) The "if" (_wenn_)
clause without "if" is represented by the lower part of the first
diagram.
(Note that the second slot in the subordinate clause is empty, the verb
being shunted to final position.)
Each diagram represents two variants upon the stucture illustrated.
Neither includes the structure in which an adverb such as _nicht_
appears at the very end of a clause, modifying the entire utterance.
This little diagram is condensed from a much more complicated
presentation in C.V. Pollard's classic book, _The Key to German
Translation_ (1954).
Hope this helps...
-- E.A.C. (who apologizes for sounding so professorial...)
Enrique Eskenazi
>I'm glad that someone has taken the time to approach Thierry Morrice
and
>get his permission to reproduce his comments on the DUTCHMAN b'cast
from
>Bayreuth.
>
>I've always found Thierry's comments to be pretty much on the mark.
>
Yes, Thierry Morice is a sensitive and knowledgeable listener. That's
why I asked his permission. It's a pity he's not member of this group.
pin...@my-deja.com
"Enrique Eskenazi" <eske...@teleline.es> wrote:
> Yes, Thierry Morice is a sensitive and knowledgeable listener. That's
> why I asked his permission. It's a pity he's not member of this group.
A pity indeed. This *highly-respected and knowledgeable*
entity, Thierry Morice from *August Opera-L*, appears to be the
enviable and proud owner of *indisputable opinion and impeccable
taste*, a *paragon of something or another*, an *end all*. And so
if he says so then it must be so and that's that and case closed,
according to similarly-yet-less-richly-endowed entities like Enrique
Eskenazi and Dan Kessler. No wonder you guys look up to him. I
would too, if only granted *the gift* (of what, I don't know).
Now, do you guys think that maybe there's a German, country-wide
*conspiracy* to *put in a good word no matter how dreadful* for
Studer out in the press? But, come to think of it, and solely on
account of the previous year, maybe the conspiracy is European-wide:
Switzerland, Holland, Spain, Austria, Hungary, France?
David Shengold
Has anyone seen THE DEEP BLUE SEA yet? Are the sharks convincing?
David Shengold
----------
james jorden
> Has anyone seen THE DEEP BLUE SEA yet? Are the sharks convincing?
Frankly, after an hour in RMO, I found this film tame.
--
james jorden
jjo...@ix.netcom.com
http://www.parterre.com
"No matter how golden an age is, there will always be someone
who thinks everything looks too yellow." -- Gore Vidal
james jorden
> Has anyone seen THE DEEP BLUE SEA yet? Are the sharks convincing?
Yes, but much of the wit of the Rattigan play is lost.
Matthew B. Tepper
>
>
>> Has anyone seen THE DEEP BLUE SEA yet? Are the sharks convincing?
>
But from the reviews I've seen, at least the sharks are almost as smart
as humans.
Frank Schneiders
> I'm forwarding a post sent to Opera-L, by kind permission of its author
> Regards
> ---
> Enrique
> eske...@teleline.es
> On the whole, an acceptable performance, but hardly on the level that
> one
> is awaiting from a Bayreuth event.
>
> Happy listening
>
> Thierry Morice"
Strangely nearly all German reviews told a different story. And this is
not a case of patriotic criticism. Most German and Austrian critics were
pretty negative about this years performances. Only Tristan, Hollaender
and Lohengrin got for the most part positive reviews.
Studer had been heavily criticised last year but this year all except
one found her a stellar performance and told that she apparently had
recovered her voice. So far I haven't listened to the performance but
next weekend it will be transmitted by my radio station and if time
allows I will refer about it.
--
Frank
http://members.aol.com/schoen1a/welcome/home.html
Ivan Lalis
(also because of Senta). She did have nice moments, but if somebody sings
Wagner in Bayreuth then one expect something on at least standard level. I
do not belong to Studer's "haters", in fact I have several recordings with
her singing Wagner and more or less like all of them, but it does not mean
that I am going to tell that white is black and black is white only for
the sake of somebody's idol.
Ivan
pin...@my-deja.com
frank_sc...@magicvillage.de (Frank Schneiders) wrote:
> Strangely nearly all German reviews told a different story.
Although neither Germany nor Bayreuth Hollaender-related, *strange*
is also some of the *wildly extreme* criticism lavished on Studer's
1993 DGG recording of Gilda in Rigoletto. To witness:
- Stephen Pruslin, International Opera Collector, Winter '98:
"An achievement of utmost distinction, replete with *qualita*."
- Hugh Canning, London Sunday Times, 9/27/98:
"The *real tragedy* is Cheryl Studer's Gilda."
pin...@my-deja.com
Ivan Lalis <la...@NOSPAM.dcs.elf.stuba.sk> wrote:
> ...it does not mean that I am going to tell that white is
> black and black is white...
--------------
And why not? It happens here and elsewhere every day.
Wild Relativism and Objectivism (moi?, never!) and
Deconstructionism, which by definition cancel each other
out, and more often than not preached for their own
empty-yet-bloated (gas, if you will) little sake and at
the expense of art and deeper truths, are the law of the
land. I am not really sure where I'm trying to get to but
I think it is leading me back to...it does not mean that
I am going to tell that white is black and black is white...
Roundabout in Boston
pin...@my-deja.com
http://database.mopo.de/bookmark/nachrichten/19990728/19990728113.html
Bayreuth: Explosion im Trafohaus sorgt für Panik -
Staatsminister Naumann sorgt weiter für Ärger
Holländer mit Dieselantrieb
Aufregung auf dem Hügel: Während des Vorspiels
zum "Fliegenden Holländer" ist es am Montag im
vollbesetzten Bayreuther Festspielhaus für kurze
Zeit zu Verwirrung und Panik gekommen. Erst
erlosch das Bühnenlicht, dann flammte das Licht
im Zuschauerraum auf und erlosch wieder. Grund
war eine Explosion in einer Bayreuther
Trafostation. Nach acht Sekunden Dunkelheit
sprang das Diesel-Notaggregat an.
Dirigent Peter Schneider und das riesige
Festspielorchester ließen sich von dem Zwischenfall
kaum beeindrucken. Dank der herausragenden
sängerischen Leistungen (Allan Titus als Holländer und
Cheryl Studer als Senta) wurde die Aufführung noch
zum Triumph.
Unterdessen haben die Bayreuth-Mäzene den Bund
aufgefordert, sich entweder vorbehaltlos zu den
Festspielen zu bekennen oder ganz aus dem Kreis der
Zuschußgeber auszuscheiden. "Eine Zwischenlösung
kann es nach dem, was passiert ist, nicht geben",
sagte der neue Vorsitzende der "Gesellschaft der
Freunde von Bayreuth", Karl-Gerhard Schmidt, gestern
auf der Mitgliederversammlung.
Der Bund plant, wie berichtet, die Bayreuther
Zuschüsse um knapp eine halbe Million Mark zu
kürzen. Schmidt sprach von einem "großen
Vertrauensbruch" durch Kulturstaatsminister Naumann.
Es könne nicht sein, daß sich die Bundesregierung aus
der Finanzierung einer der wenigen kulturellen
Institutionen von Weltrang in Deutschland verabschiede.
Naumann erwiderte, der Streit um die Kürzung der
Bundeszuschüsse für die Festspiele sei eindeutig
politisch motiviert. In Wahrheit gehe es lediglich um
eine Zuschußkürzung von 239.000 Mark. Zudem wies er
Berichte zurück, wonach er im Streit um die Kürzung
der Bundeszuschüsse damit gedroht habe, Empfänge
des bayerischen Ministerpräsidenten Edmund Stoiber
künftig zu boykottieren. Er bleibe aber dabei, daß er
sich von "Champagner-Reden" des
<#HREF>CSU<#/HREF>-Politikers künftig fernhalten
werde.
Desweiteren verlangte Naumann vom Hause Wagner,
endlich die Entscheidungskriterien für die Vergabe von
Eintrittskarten offenzulegen. Die Kartenzuteilung sei
völlig undurchsichtig, Wartezeiten von zehn Jahren
seien normal, und dann müsse man bei der schriftlichen
Bewerbung vermutlich noch einen Lebenslauf beifügen.
tur
james jorden
singing?
pin...@my-deja.com wrote:
--
David Shengold
There's a film adaptation of Dostoevsky's rather perverse THE GAMBLER
opening in New York this week with an interesting cast- Michael Gambon,
Polly Walker and (presumably as the Grandmother, an Obraztsova role in the
Prokofiev version) none other than Luise Rainer, the Austrian emigree
actress (born 1910!) who famously one two best Actress Oscars in 1936 an
1937 and almost never made a movie again- though she's in THE GREAT WALTZ,
from 1938.
David Shengold
----------
In article <7o53lp$9ik$1...@nnrp1.deja.com>, pin...@my-deja.com emitted:
Ivan Lalis
Christine Lemke-M. Well, I do not agree with her, but it was written...
Ivan
" It's clear, now, that Studer, before the gates of Munich, as it were,
undertook the "flight ahead", with shrill lifted, but really well
functioning heights, with much tremolo in the dramatic espressivo, which
didn't fail to work, with a full, beautiful soprano sound, not only in the
ballad. And even if some tiny shadows lie on some of her tones: it was, as
if the struggle Studer has to fight in the Court and with herself had given
her Senta another, touching dimension" (28.07.99).
NBPalmer1
Times.
Regards NICK/London
David Shengold
----------
In article <19990803073407...@ng-fr1.aol.com>, nbpa...@aol.com
(NBPalmer1) wrote:
>There is an English language review in the London edition of today's Financial
>Times.
>
>www.FT.com
Here it is, for the web-challenged. Thanks, Nick
-David Shengold
BAYREUTH FESTIVAL: 'Dutchman' is older and wiser
By Andrew Clark
This is a Ring-less summer at Bayreuth. It happens every five or six years,
and the atmosphere is noticeably more relaxed. There may be less for
Wagnerites to get their teeth into, but no one can say the artistic rewards
are fewer. Far from it: a Ring-less Bayreuth allows the visitor to see how
other productions are developing. Wolfgang Wagner calls it Werkstatt
Bayreuth: the festival as workshop. Unlike most opera houses, it's part of
the Bayreuth contract that producer and designer return each year to
re-work, refine, and if necessary alter their production. Some stagings
leave little scope for development, but others gather steam until they earn
the status of a classic. Such is the case with this summer's Der fliegende
Holländer.
I hadn't seen the Dieter Dorn/Jürgen Rose staging since its first night in
1990. I remember being mildly impressed by its intellectual foundation, and
you couldn't help being intrigued by the 360-degree revolve of Daland's
house in the night sky of Act 2. But it was lumpily conducted by Giuseppe
Sinopoli, and the show did not add up to a strong theatrical experience.
So I was unprepared for the impact of this Holländer revival, one of those
knock-out Bayreuth performances that are hard to rationalise. On the surface
nothing had changed. The same mysterious figure emerged from the prompt-box
during the overture, the house once again rotated in mid-air. Where did the
difference lie? It was much more than just my eyes and ears being nine years
older. The stagework was lighter, tighter, more animated. The conductor had
changed; so had some of the cast. The whole package was more fluent and
integrated. Reality or illusion? Just as Senta couldn't tell the difference
when she saw the Dutchman through her picture-frame, so it became
increasingly difficult for the audience to make the distinction as this
mesmerising production unfolded inside its red neon stage-frame.
There was a palpable chemistry between Alan Titus's Dutchman and Cheryl
Studer's Senta. Titus was mysterious, sexy, nobly heroic in tone. Studer
sounded in better shape than many in the business would have you believe,
and she still knows how to give a performance. Hans Sotin's wry Daland was a
welcome antidote to his stick-in-the-mud Gurnemanz, and Jorma Silvasti was
the impressive Erik. As so often at Bayreuth, the chorus nearly stole the
show - a tribute to Norbert Balatsch in his last summer as chorusmaster. And
like so many of Bayreuth's "house" conductors of the past, Peter Schneider
demonstrated a mature, unflashy grasp of the music.
Of course, some things never change at Bayreuth. The parade of guests, the
black-marketeers, the fanfares from King Ludwig's balcony, the beer and
bratwurst, the sundry cranks and Suche Karten - they're all part of the
ritual. More significantly, so is the quality of the orchestral playing -
not to mention the technical sophistication of the stage machinery.
So is the festival in good shape? The Festspielhaus has a well-cared-for
look, demand for tickets is as great as ever; artists love being there, and
Bayreuth still attracts and discovers Wagnerian talent. Given such
fundamental strengths, it's a pity the succession struggle is grabbing all
the headlines. In an interview published in Der Spiegel a few days before
opening night, Wolfgang Wagner suggested that the whole succession issue
could be put on hold if the government goes ahead with its threat to trim
Bayreuth's subsidy: one way of saying that if his second wife, Gudrun, is
not chosen as his successor, he will brandish his contract-for-life and make
things awkward for any rival candidate.
Few would question Wolfgang's gift as a theatre manager or his knowledge of
his grandfather's works. But after 50 years in charge, it's time for change,
and Gudrun would merely continue Wolfgang's rule under another guise. The
radical alternative would be Nike Wagner, daughter of the late, great
Wieland Wagner. I would still put my money on Wolfgang's estranged daughter
Eva. Representing a compromise, she would provide a certain amount of
continuity. She has the confidence of the artists, and unlike everyone else,
she has kept her mouth shut. But with the Richard Wagner Foundation unlikely
to deliberate until the autumn, this soap opera is set to continue long
after the music stops at the 1999 festival.
james jorden
> Studer sounded in better shape than many in the business would have you believe,
> and she still knows how to give a performance.
That sounds very fair indeed. But you can hardly call it a money review, can you?
Ivan Lalis
Or, probably, Mr Richter already has it. He has everything :)
Ivan
pin...@my-deja.com
Ivan Lalis <la...@NOSPAM.dcs.elf.stuba.sk> wrote:
> Here is an excerpt from Sueddeutsche Zeitung written by my "favourite"
> Christine Lemke-M. Well, I do not agree with her, but it was
written...
> " It's clear, now, that Studer, before the gates of Munich, as it
were,
> undertook the "flight ahead", with shrill lifted, but really well
> functioning heights, with much tremolo in the dramatic espressivo,
which
> didn't fail to work, with a full, beautiful soprano sound, not only in
the
> ballad. And even if some tiny shadows lie on some of her tones: it
was, as
> if the struggle Studer has to fight in the Court and with herself had
given
> her Senta another, touching dimension" (28.07.99).
-----------------
Thank you, Mr. Lalis, for the translation. Below is the
full article, in German:
Süddeutsche Zeitung
FEUILLETON
Mittwoch, 28. Juli 1999
Bayreuther Festspiele
Hängt die Welt an den Nagel!
Welt und Wurst, Feld und Umfeld auf dem Grünen Hügel: Dieter Dorns
„Holländer" ist wieder da
Bayreuth ist. Die Festspiele sind. Das ganze Städtchen wispert Wagner.
Keine Rostbratwurst, kein biersaucengetränkter fränkischer Kloß, kein
Schoppen Wein, ohne daß nicht am Nebentisch lauthals von Elsas
Brautschleier die Rede wäre oder von Sentas Wiederkehr im bleichen Reich
der Toten, von Schwänen, Spinnstuben und der Macht des Meeres. Nicht
daß uns das den Appetit verdürbe. Ganz im Gegenteil.
Besonders, wenn Sänger, Choristen, wenn Musiker sich in nächster
Nachbarschaft erklären. Gestern einen halben Ton zu hoch, heute eher zu
tief
intoniert, Einsätze verpaßt oder gar nicht erst kriegen können, weil der
Dirigent XY, der wie alle Dirigenten auf dem Grünen Hügel, ein
Weltberühmter und Lorbeerbekränzter sei, noch nie einen klaren,
unmißverständlichen Schlag zustandegebracht habe. Einfach nie, auch in
all
den Jahren zuvor nicht. Immer dieses eitle Gewurschtel in der Luft. Da
müsse jeder Chor auf der Strecke bleiben. Und wenn die Regie einen dann
auch noch schön weit hinten postiere . . . vergiß es.
Genuß und Verdruß
Deprimiertes Brüten. Stochern auf leeren Tellern. Und die Stille reißt
ein
Loch in die laue Wagnernacht. Fast wären wir aufgesprungen: Hey, Kinder,
euer Ethos in Ehren (der Bayreuther Festspielchor setzt sich aus
Berufschorsängern und Solisten zusammen), aber übertreibt ihr jetzt
nicht ein
bißchen? Wer von den berufsmäßig Hochgestimmten unten im Saal hört denn
eigentlich, ob die Musik stimmt, ob der Chor in der Spinnstube zu Beginn
des
zweiten „Holländer"-Aktes („Summ und brumm, du gutes Rädchen") vom
Tempo her zusammen ist und in allen Stimmen sauber? Die Promis etwa, die
vielen Prestige-Gäste, die traditionsgemäß den ersten Festspiel-Zyklus
bevölkern? Und wer von denen, die es denn tatsächlich hören oder hören
müssen, sollte daran interessiert sein, daß es von Fall zu Fall mal
nicht so sein
könnte? Fehler zu notieren - und das lehren gewiß nicht erst Wagners
„Meistersinger" -, das Ungenügen anderer dingfest zu machen und gegen
die
ach so unbestechliche eigene Merkfähigkeit aufzurechnen, bringt
bestenfalls
Verdruß.
Spannender wird's erst, wenn sich jenes Fehlen und Verfehlen (ebenso
natürlich wie das Glücken und Gelingen!) vom rein Handwerklichen aufs
Künstlerische verlagert, auf den musikalisch-menschlichen Ausdruck, aufs
Wollen und Begehren. Denn darüber läßt sich mit Leidenschaft streiten,
debattieren, reflektieren, rechten. Eine Wahrheit unterm Strich, ein
letztes
Urteil aber gibt es nicht. Richard Wagner meinte 1850/51 gewiß nichts
anderes, als er in „Oper und Drama", seiner wichtigsten theoretischen
Schrift,
die Utopie eines besseren, nämlich von Kunst, von ästhetischer Erfahrung
geprägten und weithin geordneten Lebens entwarf. Nicht zuletzt daraus
erklärt sich die (fast) ungebrochene Magie, das weltweite Faszinosum der
Festspiele. Abtauchen ins Reich der Gesamtkunstwerke, versinken,
ertrinken
in ihren Klangräuschen und leitmotivischen Verstrickungen - und den Rest
der Welt an den Nagel hängen. Für sehr viel mehr als für eine kleine
Rostbratwurst reicht die Zeit zwischen den Aufführungen sowieso nicht.
Was künstlerisches Ungenügen betrifft und das hochrichterliche Richten
darüber, mußte einem der „Fliegende Holländer" allerdings wie ein
regelrechtes Plädoyer vorkommen. Dieter Dorns Inszenierung (die
unübersehbar in die Jahre kommt), frisch einstudiert, Jürgen Roses
Dekorationen frisch ausgebürstet, und selbst Peter Schneider am Pult des
Festspielorchesters machte nach reichlich fahrigem Beginn vor allem im
letzten Akt noch einiges an Klangschönheit und romantisch-dramatischer
Dichte wett.
Flucht nach vorn
Das Solisten-Ensemble indes präsentierte sich eher auf gemischtem
Niveau:
Hans Sotin als warmherzig geschäftstüchtiger Daland, Jorma Silvasti als
bekümmerter, im inbrünstigen Klagelaut um sein Glück ringender Erik,
Marga
Schiml als beflissene Mary, Torsten Kerl als sehr schneidiger Steuermann
sowie Alan Titus in der Titelpartie - eine herbe Enttäuschung, was
stimmliche Präsenz, Intonation und Aussprache anging. Diesem Holländer
glaubte man von seinem ganzen gespenstischen Schicksal kein Wort.
Die Senta aber sang Cheryl Studer, deren juristische Querelen mit der
Bayerischen Staatsoper sich alsbald jähren. Als Agathe in Webers
„Freischütz" soll sie - wofür kein Geringerer als Zubin Mehta seine Hand
ins
Feuer legt - der Höhen nicht mächtig gewesen sein. Klar, daß Studer nun,
gewissermaßen vor den Toren Münchens, die Flucht nach vorn antrat: mit
grell gestemmten, aber sehr wohl funktionierenden Spitzen, mit viel
Tremolo
im dramatischen Espressivo, das seine Wirkung nicht verfehlte, mit
sattem,
schönem Sopranklang nicht nur in der Ballade. Und mochten auf manchen
ihrer Töne auch kleine Schatten liegen: Es war, als verleihe der Kampf,
den
Studer vor Gericht wie vor sich selber auszufechten hat, ihrer Senta
eine
zusätzliche, anrührende Dimension. Da greifen wir gern zu Wolfgang
Wagners Lieblingssatz: „Hier gilt's der Kunst!"
CHRISTINE LEMKE-MATWEY
tmo...@my-deja.com
> A pity indeed. This *highly-respected and
knowledgeable*
> entity, Thierry Morice from *August Opera-L*,
appears to be the
> enviable and proud owner of *indisputable
opinion and impeccable
> taste*, a *paragon of something or another*, an
*end all*. And so
Nothing of it all. But I have ears to hear and if
you happen sometime to listen to your idol's
performances instead of praying before them, your
ears will tell you that, after the ballad, she
sung like a goat. A talented goat, yes, but a goat
Cheers
Thierry
tmo...@my-deja.com
knowledgeable*
> entity, Thierry Morice from *August Opera-L*,
appears to be the
> enviable and proud owner of *indisputable
opinion and impeccable
> taste*, a *paragon of something or another*, an
*end all*.
Nothing of this, my dear. Just a man with two
ears.
By the way, if you were using yours to listen to
your idol's recordings insteda of praying before
them, they would tell you, that, after the Ballad,
Studer sang like a goat. A talented goat, yes, but
a goat.
Among all the reviews from second-rate provincial
German newspapers you posted, I didn't find a
single word of comment about the singers'
achievements. Nothing but meaningless common
places. Of course you didn't hesitate to quote the
Rheinische Post saying thatr Studer was the
greatest "along with Gabriele Schnaut's Elsa". Sad
for their and your credibility that Schnaut sang
Ortud, no?
Happy praying
tmo...@my-deja.com
>
> A pity indeed. This *highly-respected and knowledgeable*
> entity, Thierry Morice from *August Opera-L*, appears to be the
> enviable and proud owner of *indisputable opinion and impeccable
> taste*, a *paragon of something or another*, an *end all*.
Nothing of this, but a human being with two ears.
If you were using yours to listen to your idol's recordings instead of
praying before them, they would tell you that, on that occasion, Studer
after the ballad sang like a goat. A talented goat, yes, but a goat.
BTW, among all the reviews you posted from second-rate provincial German
newspapers I didn't find one word of comment on the singing. Nothing but
hollow common places.
OTOH, you didn't hesitate to post the Rheinische Post article where they
sa that Studer was one of the highlights of the festival, "along with
Gabriele Schnaut's Elsa". Sad for their and your credibility, but
Schnaut sang Ortrud...
pin...@my-deja.com
My sincere apologies for mistaking you for
something or other of some respect. Turns out
you are not even worthy of a diseased farm animal.
Go back to quaint and prissy Opera-L. Off with you.
--------------
In article <7oc203$7sd$1...@nnrp1.deja.com>,
Anonymous
pin...@my-deja.com wrote:
>
> T. Morice,
>
> My sincere apologies for mistaking you for
> something or other of some respect. Turns out
> you are not even worthy of a diseased farm animal.
> Go back to quaint and prissy Opera-L. Off with you.
>
> --------------
>
> In article <7oc203$7sd$1...@nnrp1.deja.com>,
> tmo...@my-deja.com wrote:
> > In article <7o20tc$5c2$1...@nnrp1.deja.com>,
> > pin...@my-deja.com wrote:
> > > A pity indeed. This *highly-respected and knowledgeable*
> > > entity, Thierry Morice from *August Opera-L*, appears to be the
> > > enviable and proud owner of *indisputable opinion and impeccable
> > > taste*, a *paragon of something or another*, an *end all*.
> >
> > Nothing of this, but a human being with two ears.> > If you were using yours to listen to your idol's recordings instead of> > praying before them, they would tell you that, on that occasion,> Studer> > after the ballad sang like a goat. A talented goat, yes, but a goat.
> >
> > BTW, among all the reviews you posted from second-rate provincial
> German> > newspapers I didn't find one word of comment on the singing. Nothing> but> > hollow common places.> > OTOH, you didn't hesitate to post the Rheinische Post article where> they> > sa that Studer was one of the highlights of the festival, "along with> > Gabriele Schnaut's Elsa". Sad for their and your credibility, but> > Schnaut sang Ortrud...
> >
> > Happy praying
> >
> > Thierry
once again, the naughty adolescent pauses from his self-abuse and wet
dreams to show disrespect for his betters. in light of the vapid ad
hominem, he'd probably be better off returning to his industrious sexual
aberrations. at least he's found an object that returns his affections.
dft
--------== Posted Anonymously via Newsfeeds.Com ==-------
Featuring the worlds only Anonymous Usenet Server
-----------== http://www.newsfeeds.com ==----------
pin...@my-deja.com
5 Aug 99.
http://www.vanguardia.es/noticias/espectaculos/
CRÍTICA DE ÓPERA: La resurrección de Cheryl Studer
en Bayreuth
***The resurrection of Cheryl Studer at Bayreuth***
ROGER ALIER
Intérpretes: Alan Titus, Cheryl Studer, Hans Sotin, Jorma Silvasti,
Marga Schiml, Torsten Kerl. Coro del Festival de Bayreuth. Dir: Norbert
Balattsch. Orquesta del Festival de Bayreuth. Dir: Peter Schneider.
Producción: Dieter Dorn.
Escenografía y vestuario: Jürgen Rose.
Iluminación: Manfred Voss.
Lugar y fecha: Festpielhaus, Bayreuth (26/VII/99)
Reciente el eco del éxito del "Lohengrin" inaugural, y en medio de las
polémicas que ha suscitado el intento federal de recortar las
subvenciones a Bayreuth, considerado una afrenta para las autoridades
bávaras, se puso en marcha la segunda producción del festival, "El
holandés errante" de Dieter Dorn, que ya camina hasta su desaparición,
pero que siempre se ve con gusto, porque es una producción sumamente
estimulante y atractiva.
En esta ocasión, además, la persistencia de Cheryl Studer en el papel de
Senta sorprendía un poco, teniendo en cuenta el mediocre nivel de la
cantante el año pasado y sus problemas con otros teatros. Cierto que su
interpretación, al principio de la obra, pareció inestable, con algunos
"calos" vocales, pero la cantante se centró muy pronto y recuperó el
control de la voz, situándose gradualmente a una altura cada vez mayor
en el emotivo papel de la visionaria Senta, rubricando este
renacer vocal con unas magníficas escenas finales, vibrantes y plenas.
***In this occasion, in addition, the participation of
Cheryl Studer in the role of Senta was not highly anticipated
(or anticipated with trepidation), taking into account her level
of mediocrity last year and her problems with other theatres.
It is true that her interpretation, at the beginning, seemed unstable,
somewhat cold vocally, but the singer found herself centered soon after
and recovered control of her voice, the voice gradually positioning
itself to a higher and higher level in the emotive role of the visionary
Senta, thereby establishing her vocal rebirth with magnificent moments
(final moments?), vibrant and full (fully felt?).***
Alan Titus, que había debutado en Bayreuth el año pasado, tras una larga
carrera, obtuvo este año el ansiado triunfo; el año pasado, el de su
debut, no fue conclusivo en este sentido. Su "Holandés" ha crecido en
estatura y solidez vocal con un espléndido resultado tanto escénico como
musical. Magnífico, casi tan imprescindible en Bayreuth, después de
veintisiete festivales, como las columnas que sostienen la sala de
espectáculos. De voz potente, pero caprina, Jorma Silvesti
no acabó de gustar como Erik; otra veterana, Marga Schiml, cubrió su
habitual papel de Mary, y Torsten Kerl pareció prometedor como Timonel.
Una vez más el magnífico coro del festival fue el aglutinante de la
función, culminando su actuación en la fiesta de los marineros del acto
III. Además, debemos añadir a todo esto la impresionante versión
orquestal de Peter Schneider, a quien tal vez no se le ha dado todavía
la importancia que le corresponde y merece en el festival, para concluir
que este "Holandés", recibido también sin ninguna protesta, ha
constituido un buen complemento al feliz inicio de la 88.ª edición del
Festival de Bayreuth.
Terrymelin
I didn't realize she had been dead for three days. Any Doubting Thomases out
there?
Terry Ellsworth
PS: Does this mean she'll be ascending into heaven within the next 50 days?
pin...@my-deja.com
pin...@my-deja.com wrote:
> This time from the Spanish daily "La Vanguardia",
> 5 Aug 99.
>
> http://www.vanguardia.es/noticias/espectaculos/
>
> CRÍTICA DE ÓPERA: La resurrección de Cheryl Studer
> en Bayreuth
>
My translation mistake. More appropriately:
***The re-emergence of Cheryl Studer at Bayreuth***
Derrick Everett
Terrymelin wrote in message
<19990805175150...@ng-cq1.aol.com>...
>>***The resurrection of Cheryl Studer at Bayreuth***
>
out
>there?
>
>Terry Ellsworth
>
>PS: Does this mean she'll be ascending into heaven within the next 50 days?
Assumpta est Cheryl in caelum; gaudent Angeli, laudantes benedicunt Dominum.
Derrick
Claud H. Shirley III
> >
> >I didn't realize she had been dead for three days. Any Doubting Thomases
> out
> >there?
> >
> >
>
> Assumpta est Cheryl in caelum; gaudent Angeli, laudantes benedicunt Dominum.
>
Is this sort of clumsy misappropriation of religious terminology and
language really necessary? Have the habitual slugs of RMO run out of
cleverness to the point that they must now make their points by dragging
sacred language and imagery into the slime tracks of their feeble
intellects and even weaker wits? Or is it all just plain good
democratic iconoclastic nasty fun, and whoever gets caught in the
gutter-spray be damned? Slams have been made today at
transubstantiation, the Transfiguration, and now the Assumption. This
gross insensitivity to the feelings of people is sickening, especially
as it proceeds from no other motive than rank meanness. There are
definitely two types to be found in this forum - ignorant rude savage
and unnatural creeps, the kind that tear pretty little birds to pieces
for the fun of it, and everybody else. Just my opinion, of course.
--
Enrique Eskenazi
>Nothing of it all. But I have ears to hear and if
>you happen sometime to listen to your idol's
>performances instead of praying before them, your
>ears will tell you that, after the ballad, she
>sung like a goat. A talented goat, yes, but a goat
>
>Cheers
>
>Thierry
Welcome to r.m.o., Thierry!
Regards
---
Enrique
eske...@teleline.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
Ivan Lalis
Ivan
Terrymelin
>language really necessary?
Well I'm not the idiot who headlined a review "The Resurrection of Cheryl
Studer." It would seem the abuse of religious imagery was started by the moron
who wrote that review. I was satirizing his use of that imagery. You get satire
don't you?
Terry Ellsworth
Anonymous
was it george s. kaufman who said, "satire is what closes saturday
night?" plainly andrew lloyd talentless does not write satire. that
garbage goes on and on and on and on ... sort of like a few of the
posters here.
tmo...@my-deja.com
pin...@my-deja.com wrote:
> T. Morice,
>
> My sincere apologies for mistaking you for
> something or other of some respect. Turns out
> you are not even worthy of a diseased farm animal.
> Go back to quaint and prissy Opera-L. Off with you.
I'm overwhelmed by the might of your argumentation!
BTW, Asimov in "Foundation" writes
"violence is the last refuge for incompetence"
Does it apply to verbal violence, too?
Happy fighting
Thierry
Edward A. Cowan
> I have ears to hear and if
> you happen sometime to listen to your idol's
> performances instead of praying before them, your
> ears will tell you that, after the ballad, she
> sung like a goat. A talented goat, yes, but a goat
Does the above suggest that a certain opera by Meyerbeer is in the
lady's future?... <G>
-- E.A.C.
Derrick Everett
Edward A. Cowan wrote in message
<1dw3zmw.4tq...@ppp-114-ftw-usr1.waymark.net>...
Suddenly I see Cheryl Studer in a different light entirely! <grin>
Derrick
Matthew B. Tepper
pondered what I'm pondering as follows...
>
>There's a film adaptation of Dostoevsky's rather perverse THE GAMBLER
>opening in New York this week with an interesting cast- Michael Gambon,
>Polly Walker and (presumably as the Grandmother, an Obraztsova role in
>the Prokofiev version) none other than Luise Rainer, the Austrian
>emigree actress (born 1910!) who famously one two best Actress Oscars
>in 1936 an 1937 and almost never made a movie again- though she's in
>THE GREAT WALTZ, from 1938.
Yep, after she appeared in "Oscar's Family Portrait" on the awards
ceremony a year-and-a-half ago, her agent finally remembered to call
her....
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
To write to me, do for my address what Androcles did for the lion
"Compassionate Conservatism?" * "Tight Slacks?" * "Jumbo Shrimp?"
Enrique Eskenazi
>This time from the Spanish daily "La Vanguardia",
>5 Aug 99.
>En esta ocasión, además, la persistencia de Cheryl Studer en el papel
de
>Senta sorprendía un poco, teniendo en cuenta el mediocre nivel de la
>cantante el año pasado y sus problemas con otros teatros. Cierto que su
>interpretación, al principio de la obra, pareció inestable, con algunos
>"calos" vocales, pero la cantante se centró muy pronto y recuperó el
>control de la voz, situándose gradualmente a una altura cada vez mayor
>en el emotivo papel de la visionaria Senta, rubricando este
>renacer vocal con unas magníficas escenas finales, vibrantes y plenas.
>
>***In this occasion, in addition, the participation of
>Cheryl Studer in the role of Senta was not highly anticipated
>(or anticipated with trepidation), taking into account her level
>of mediocrity last year and her problems with other theatres.
>It is true that her interpretation, at the beginning, seemed unstable,
>somewhat cold vocally, but the singer found herself centered soon after
>and recovered control of her voice, the voice gradually positioning
>itself to a higher and higher level in the emotive role of the
visionary
>Senta, thereby establishing her vocal rebirth with magnificent moments
>(final moments?), vibrant and full (fully felt?).***
A correction in your translation... The articles says "con algunos
'calos' vocales" and Pineiro translated " somewhat cold vocally". That's
not the idea, the word 'calos' comes from Italian 'calare'= singing
flat.
Terrymelin
>ceremony a year-and-a-half ago, her agent finally remembered to call
>her.
Actually, as I remember it she had already made "The Gambler" by the time of
her appearance on the Oscars in March 1998.
Terry Ellsworth
pin...@my-deja.com
http://www.abendblatt.de/bin/ha/set_frame/set_frame.cgi?seiten_url=/bin/
ha/i_search/showfoundfile.cgi/contents/ha/news/feuilleton/html/290799/08
29BAYR2.HTM::studer::b
Bayreuth hat das Buhen verlernt
Premieren, Prominente und eine Persona non grata -
die Halbzeitbilanz der Festspiele5
Von HELMUT SÖRING
Bayreuth - Eine Sopranistin sang um ihr Künsterleben:
Cheryl Studer. Im Frühjahr noch während der Proben zum
Münchner "Freischütz" wegen Unfähigkeit von der
Intendanz der Bayerischen Staatsoper ausgemustert,
stand sie jetzt in Bayreuth als Senta im "Fliegenden
Holländer" erstmals wieder in einer großen Rolle auf der
Bühne.
Sie kam, sang und siegte. Sie strafte alle Kritiker Lügen.
Selbst einen Wackler in Sentas Ballade, den sie prompt
wiederholte, tat sie mühelos ab. Auch ein Stromausfall,
der das Festspielhaus sekundenlang lahmlegte, tat der
allgemeinen Begeisterung keinen Abbruch.
Von Dirigent Peter Schneider und dem Partner Alan
Titus in der Titelfigur beflügelt, ersang sich die Studer am
Ende Ovationen. Für einen anderen war es eine
Sternstunde, wie sie ein Musiker nur einmal auf Erden
erlebt: Dietmar Keller von der Stuttgarter Oper durfte sein
wunderbares, aber kurzes, 16taktiges Englischhorn-Solo in
der Ouvertüre gleich zweimal blasen. Als er es das erste
Mal beendet hatte, kam der Blackout. Und als der Strom
wieder floß´, machte Schneider kurz vor dem Solo weiter.
Erste Bilanz nach der Hälfte der Premierenwoche: Etwas
muß diesmal falsch sein in Bayreuth - es gab kein einziges
Buh. Bei Keith Warners schwer verständlichem "Lohengrin"
nicht, den man offenbar nur nach einem ausgedehnten
Psychiatrie-Studium verstehen kann, auch nicht bei Dieter
Dorns "Holländer"-Inszenierung. Jene Produktion, in der
Dalands Haus abhebt und sich einmal um die eigene Achse
dreht. Sie wird in diesem Jahr zum letzten Mal gegeben
und hat jetzt jene Dichte, die man sich von Anfang an
gewünscht hätte. Aber vielleicht hat man sich nur daran
gewöhnt am Grünen Hügel.
Selbst Wolfgang Wagners abgestandene
"Parsifal"-Inszenierung, die sich allenfalls mit der Gnade
der frühen Geburt entschuldigen ließe, wurde frenetisch
beklatscht. Das lag aber weniger am Hausherrn, sondern
an der grandiosen Leistung des Ensembles (Poul Elming in
der Titelrolle, Hans Sotin als Gurnemanz und ein äußerst
gelungenes Debüt der Litauerin Violeta Urmana als
Kundry). Wolfgang Wagner, der schlaue Fuchs, umging
das private Debakel, indem er sich nur gemeinsam mit
seinen gefeierten Helden zum Verbeugen auf die Bühne
wagte.
Mit den "Freunden von Bayreuth", seit 50 Jahren
Förderverein der Festspiele, tut er sich leichter.
50 Millionen Mark haben die rund 4500 Mitglieder aus
38 Ländern bisher gestiftet. Bayreuth-Pilger Klaus von
Dohnányi, Hamburgs Ex-Bürgermeister, übt derweil
Solidarnosc mit Wolfgang Wagner. Er sammelt bei Sängern
und Dirigenten Unterschriften für den Verbleib des
Festival-Chefs. Fürchtet er etwa, demnächst Richards
Klassiker nicht wiederzuerkennen?
Thema Nummer eins rund um die "Scheune" ist
unterdessen Staats-Kulturminister Michael Naumann. Er
hat Nike Wagner als Persona non grata abgelöst. Über
seine Streichung der Bundesmittel um 480 000 Mark zürnt
man noch immer heftig. Jetzt soll Naumanns
Staatssekretär Knut Nevermann die Wogen glätten. Er hat
mit Bayreuths Bürgermeister Mronz für den Herbst einen
Runden Tisch vereinbart.
Ein Festivalbesucher ist froh, einmal über ein anderes
Thema als gewohnt sprechen zu können: Rolf Mares. Wen
der Hamburger auch in den Pausen traf, er wurde auf den
HSV angesprochen. Das änderte sich schlagartig,
nachdem Naumann im "Spiegel" angedeutet hatte, an der
Hamburgischen Staatsoper bekäme ein Sänger wie
Domingo rund fast eine halbe Million Mark Abendgage.
Jetzt fragten Sänger beim einstigen Staatsoperndirektor
Mares nach, ob da nicht ein paar Abende frei wären...
Merke: Wenn der Bundeskulturbeauftragte Michael
Naumann von allem so viel Ahnung hat wie vom
Gagengefüge an deutschen Staatsbühnen, dann darf
einen im derzeit üblichen Theater um die Kultur nichts
mehr wundern.
**********************
pin...@my-deja.com
"Enrique Eskenazi" <eske...@teleline.es> wrote:
> A correction in your translation... The articles says "con algunos
> 'calos' vocales" and Pineiro translated " somewhat cold vocally".
> singing flat.
-------------------
I stand corrected. Thank you. Interesting, isn't it?,
how your mentor, Thierry Morice, raved about Studer's singing in
the ballade, yet panned her for just about everything else
thereafter (as he heard in the broadcast). Yet, in spite of her great
ballade, this Spanish critic and just about every other German one
have stated she became better and better throughout the performance.
An *International Cabal of Aryans* conspiring in her favor?
dtritter
ah, it seems that mr. eskenazi stands convicted of correcting gaaaaaaaby
on his native language, mr. morice of stating what he heard ... both now
accused of being in league with one another to denigrate the opinions of
the plainly eminent critics who agreed with gaaaaaaaby, who has not yet
told us whether he actually heard the performance in question
dft
-----------== Posted via Newsfeeds.Com, Uncensored Usenet News ==----------
http://www.newsfeeds.com The Largest Usenet Servers in the World!
------== Over 73,000 Newsgroups - Including Dedicated Binaries Servers ==-----
Enrique Eskenazi
>In article <7og0dn$ksn$1...@diana.bcn.ttd.net>,
> "Enrique Eskenazi" <eske...@teleline.es> wrote:
>> A correction in your translation... The articles says "con algunos
>> 'calos' vocales" and Pineiro translated " somewhat cold vocally".
>> That's not the idea, the word 'calos' comes from Italian 'calare'=3D
>> singing flat.
>-------------------
>
>I stand corrected. Thank you. Interesting, isn't it?,
>how your mentor, Thierry Morice, raved about Studer's singing in
>the ballade, yet panned her for just about everything else
>thereafter (as he heard in the broadcast). Yet, in spite of her great
>ballade, this Spanish critic and just about every other German one
>have stated she became better and better throughout the performance.
>
>An *International Cabal of Aryans* conspiring in her favor?
>
Thierry Morice is not my mentor, just another opera buff whose opinions
I usually find quite accurate, and whose taste is akind to mine -at
least taking in account his critics of performances I've seen or of
records and singers I know. And he is not Jew (AFAIK). Now, when will
you stop with your racist commentaries?
pin...@my-deja.com
"Enrique Eskenazi" <eske...@teleline.es> wrote:
> Thierry Morice is not my mentor, just another opera buff whose
> opinions I usually find quite accurate, and whose taste is akind
Precisely. The opinions of *Thierry-the-Sensitive* you find accurate
*because* of kindred tastes. But this *fraud* really lived up to
his sensitive side by calling CS a goat.
> And he is not Jew (AFAIK).
Are you sure? Anything's possible these days. Hillary Clinton
just announced the Jewish branch of her family tree. Madeline
Allbright knew nothing about her roots until the other day. Etc.
> Now, when will you stop with your racist commentaries?
>((An *International Cabal of Aryans* conspiring in her favor?))
Nothing racist. Just playing with Jimmy Jorden's own paranoia.
He once conveniently accused me of suggesting an *international
cabal of Jews* is conspiring to ruin CS' career. So you see,
maybe her *ecstatic reception and triumph* at *Sinister Bayreuth*
and the ensuing *unanimously favorable* reviews thus far from
Germany, England and Spain could also be a mysterious conspiracy of
sorts. What else could it be, considering the woman sounds like a
goat, has no voice left, is finished, her future is past and
everything else?
tmo...@my-deja.com
> I stand corrected. Thank you. Interesting, isn't it?,
> how your mentor, Thierry Morice, raved about Studer's singing in
> the ballade, yet panned her for just about everything else
> thereafter (as he heard in the broadcast). Yet, in spite of her great
> ballade, this Spanish critic and just about every other German one
> have stated she became better and better throughout the performance.
>
If you'd eyes to read, as you don't have ears to hear, you'd habe
understood I didn't at all "rave about Studer's singing in the ballad",
for I head there difficult low notes as well as problems in the exposed
high tones at the end of the second half of each verse. Or is it enough
for a rave, in your opinion?
Neither did I "pan her for just about everything else thereafter" but
noticed a tight vibrato, which became more and more unpleasant and
marred the duets. In other words, maybe the only ones you can
understand, "singing like a goat".
I've read enough provincial German newspapers in my life to know one
shouldn't believe everything wich is printed. As I already stated, in
those you quoted there wasn't a word of comment ob the singin, except
for hollow common places. As for the Spanish critic you quoted with some
translation mistakes, the example of his critic of "Alcina" in Barcelona
confronted to the reality would prove you he doesn't always tell the
truth, either. And in that case there was no matter of subjective
opinions but the objective topic of arias Mr Alier stated as cut when
they were actually sung.
So, please give us your opinion, according to what *you* 've heard, tell
us what you liked, expose us some details and I'd be glad to have a
serious discussion.
For I am someone who respects other people's meaning, provided it is
founded.
So is Enrique Eskenasi, who is far too intelligent and too experienced
as to need a "mentor". We are just two persons, a Jew and a goy, who
often agree and sometimes disagree, but never thought of using base and
dirty methods to convince each other, knowing that that kind of means
stains only the one who employs them.
Poor Cheryl Studer, whose fans are of that caliber! As far as I am
sceptical about Josep Bros e.g. and as far as Enrique likes him, his
argumentation always had a level and an elegance I wish Ms Studer could
enjoy from her side. Alas, probably one has the fanship one deserves.
> An *International Cabal of Aryans* conspiring in her favor?
Now, you were not only base and dirty, but vile and offending.
If there were not the sadness of seeing somebody I esteem hurt that way,
I would wonder how deep you can dive.
Thierry
pin...@my-deja.com
tmo...@my-deja.com wrote:
>... but never thought of using base and dirty methods to convince
> each other, knowing that that kind of means stains only the one
> who employs them.
And what is it you called CS? What a hypocritical fraud you are.
> Poor Cheryl Studer, whose fans are of that caliber!
Of this caliber and then some! I was going to comment on those
"goat" sounds you mentioned but I am suddenly self-conscious of my
lowly place and it is therefore better that I start rectifying my
lot in life.
> As far as I am sceptical about Josep Bros e.g. and as far as
> Enrique likes him, his argumentation always had a level and an
> elegance I wish Ms Studer could enjoy from her side. Alas, probably
> one has the fanship one deserves.
What exactly do you mean by that last line? Or are you *hiding
behind* your heightened level and elegance? Do you see what I mean
by hypocritical fraud?
> > An *International Cabal of Aryans* conspiring in her favor?
See my previous post on this thread.
pin...@my-deja.com
Only *one* meager word and it has already been corrected, by
your elegant and intelligent tastemate, Eskenazi. I even
acknowledged him for it, which is rather unusual for people of
my lowest-of-the-low caste. As for all the other press reviews I
posted, save from the one in English, all are in German and not
one was translated by me, all were left intact. I even provided
URLs to prevent and quell *Studer-paranoia* (i.e., "triumphs and
positive criticism about this singer are just not possible, especially
not this late in the game, 1999; the woman has been toast for
at least ten years now; the chutzpah not to obey orders, keep silent,
and close shop for good!; who does she think she is?").
Further, notice that I refrained from making personal comments about
any specific press review. Read before commenting.
> So, please give us your opinion, according to what *you* 've heard,
> tell us what you liked, expose us some details and I'd be glad to
> have a serious discussion.
Rest assured I will comment on the broadcast once I hear it.
We can then engage in *serious* discussion, such as
"CS sounded like a goat", "CS sounded like a pig"...
Matthew B. Tepper
>
> tmo...@my-deja.com wrote:
>> As for the Spanish critic you quoted with some translation
>> mistakes...
>
>Only *one* meager word and it has already been corrected, by
>your elegant and intelligent tastemate, Eskenazi.
Ah, but one word, or rather, one note was all it took for Domingo (as
Samson) to deserve being blasted into worthlessness by this gang!
GRNDPADAVE
>Date: Sun, 08 August 1999 08:13 PM EDT
>Message-id: <7ol6f7$1...@journal.concentric.net>
>
snip / snip
>
>Ah, but one word, or rather, one note was all it took for Domingo (as
>Samson) to deserve being blasted into worthlessness by this gang!
>
>--
~~~~~~~~~~~~~~~~~~~~~~~
He was blasted, Tepper, but did he deserve it?
The punishments inflicted on Plathi seem to me invariably to exceed the crime.
And I am still unable to figure out why.
==G/P Dave
Frank Schneiders
> If you'd eyes to read, as you don't have ears to hear, you'd habe
> understood I didn't at all "rave about Studer's singing in the ballad",
> for I head there difficult low notes as well as problems in the exposed
> high tones at the end of the second half of each verse. Or is it enough
> for a rave, in your opinion?
> Neither did I "pan her for just about everything else thereafter" but
> noticed a tight vibrato, which became more and more unpleasant and
> marred the duets. In other words, maybe the only ones you can
> understand, "singing like a goat".
>
> I've read enough provincial German newspapers in my life to know one
> shouldn't believe everything wich is printed.
Sorry, Thierry, some of these "provincial" German newspapers are the
best we have. Do you think that German music critics are generally
provincial? May be in some cases but not more than in any other country
on this earth. I read some of the reviews again and though most of them
were generally positive about Mrs. Studer there has been some criticism
as well (sharp top notes, insure intonation, a prominent vibrato),
things you mentioned, also.
The "Sueddeutsche Zeitung" wrote about the singers:
Das Solisten-Ensemble indes präsentierte sich eher auf gemischtem
Niveau: Hans Sotin als warmherzig geschäftstüchtiger Daland, Jorma
Silvasti als bekümmerter, im inbrünstigen Klagelaut um sein Glück
ringender Erik, Marga Schiml als beflissene Mary, Torsten Kerl als sehr
schneidiger Steuermann sowie Alan Titus in der Titelpartie, eine herbe
Enttäuschung, was stimmliche Präsenz, Intonation und Aussprache anging.
Diesem Holländer glaubte man von seinem ganzen gespenstischen Schicksal
kein Wort.
Die Senta aber sang Cheryl Studer, deren juristische Querelen mit der
Bayerischen Staatsoper sich alsbald jähren. Als Agathe in Webers
"Freischütz" soll sie, wofür kein Geringerer als Zubin Mehta seine Hand
ins Feuer legt, der Höhen nicht mächtig gewesen sein. Klar, daß Studer
nun, gewissermaßen vor den Toren Münchens, die Flucht nach vorn antrat:
mit grell gestemmten, aber sehr wohl funktionierenden Spitzen, mit viel
Tremolo im dramatischen Espressivo, das seine Wirkung nicht verfehlte,
mit sattem, schönem Sopranklang nicht nur in der Ballade. Und mochten
auf manchen ihrer Töne auch kleine Schatten liegen: Es war, als verleihe
der Kampf, den Studer vor Gericht wie vor sich selber auszufechten hat,
ihrer Senta eine zusätzliche, anrührende Dimension. Da greifen wir gern
zu Wolfgang Wagners Lieblingssatz: "Hier gilt's der Kunst!" CHRISTINE
LEMKE-MATWEY
Yesterday evening my local radio station transmitted the performance and
in most points I would share your opinion.
I liked the helmsman Thorsten Kerl much more than you did. Just the
right voice for this part, manly and strong enough and by no means a
"middle-class operetta tenor".
I didn't rate the Erik as high as you did. A good voice with a sometimes
disturbing vibrato but for me he sounded not very interesting and I
heard nothing of the "beautiful colours and the ability to use them". I
liked the Erik of the last year, Roland Wagenfuehrer, much more.
The main point of discussion here is of course Studer. She sounded much
better than in the last years broadcast but not as the singer who sang
such a great Elsa and Elisabeth some years earlier. But I was happy to
see that she has recovered some of her strength and that her voice is
still sounding fresh and young.
--
Frank
http://members.aol.com/schoen1a/welcome/home.html
Wj598
>right voice for this part, manly and strong enough and by no means a
>"middle-class operetta tenor".
>I didn't rate the Erik as high as you did. <<
Guten Tag!
In the past I posted once or twice something more critical about Studer, maybe
it was a little bit nasty. The main reason for that was her Isolde (concertant)
in Giessen. That was embarrassing, totally embarrassing.
BUT after I heard last night "Dutchman" on the Radio too I have to say that I
was very surprised how good Studer was. I will compare it today with her Senta
from last year. But as you said already in my memory it was also much worse. I
don`t care about that little tremolo. I don`t understand anyway why a Senta
should have a voice like a virgin. :.)
I wouldn`t call myself a fan of Ms Studer but I liked her singing very much
last night.
Ihorsten would have been the much better Erik in my opinion than Jorma Silvsti.
In the discussion about "Tote Stadt" on this Board and the difficult part of
"Paul" it maybe of interest that Thorsten Kerl will sing this role next year in
two new productions in France (Strasbourg and Paris)
Best.............wolf(j)
tmo...@my-deja.com
frank_sc...@magicvillage.de (Frank Schneiders) wrote:
> Sorry, Thierry, some of these "provincial" German newspapers are the
> best we have. Do you think that German music critics are generally
> provincial?
Not at all. I'm the first to say there is great journalism in Germany
and also a deservedly famous school of musical critic.
This said, it remains that there are also, *like in any other country*,
provincial papers more concentrated on local events than on musical
critics (which a mentioning as Schnaut singing Elsa can illustrate)and
that quoting a lot of them can only throw some shadow on the more
concerned ones.
I don't agree completely with Christine Lemke-Matwey, but she is
definitely one of those who don't remain on the level of "hollow common
places" and try to provide an analysis of the vocal performances.
As for your remarks about the singers:
I was really disappointed by Torsten Kerl. The helsman's song is for me
one of the "evergreens" of the Hollaender and I found it lacked the
immediate charm of an almost folksong I think it should have. A charm
which shouldn't be reached by "naturalistic" singing, but by a perfect
handling and poising of all the details. Of course, it's difficult to
hire a prominent singer for this relatively small part, but I was
sincerely reminded of an operetta tenor singing well known tunes rather
than of the young, vital, sure and fearless (in singing) tenor I was
expecting, with sense for the shaping and nuancing of musical lines.
Maybe I was just expecting too much. Maybe my ideal helmsman is closer
to a Gondoliere, too ...
As for Erik, I was on the contrary positively surprised not to hear the
"game disturber" he generally is, but a singing more in the belcanto
manner, which gave shades and depths to the part. You say Roland
Wagenfuehrer was better last year; I'm ready to trust you. This year's
Lohengrin seems to have established him definitively as a great
Wagnerian tenor.
Since I haven't heard last year's performance, I cannot compare Studer
to herself. I would in no way say she is "finished" or amenties of the
kind. She was not flawless, and I must say I was personnally disturbed
by her tremolo, but it was far from the disaster some people from the
Bavarian State Theatre has put her name in association with.
If she's on a way upwards, let's rejoice. I'd say she hasn't reached the
end of this way, yet, but I wish her sincerely to be able to delight us
again in carefully chosen parts.
Best
Thierry
Benjamin Rochefort
> In the discussion about "Tote Stadt" on
> this Board and the difficult part of
> "Paul" it maybe of interest that
> Thorsten Kerl will sing this role next year in
> two new productions in France (Strasbourg and Paris)
In which house in Paris is this production of _Die tote Stadt_ taking
place ? Le Châtelet ?
-- Benji di Parigi
Edward A. Cowan
> The "Sueddeutsche Zeitung" wrote about the singers:
>
> Das Solisten-Ensemble indes präsentierte sich eher auf gemischtem
> Niveau: Hans Sotin als warmherzig geschäftstüchtiger Daland, Jorma
> Silvasti als bekümmerter, im inbrünstigen Klagelaut um sein Glück
> ringender Erik, Marga Schiml als beflissene Mary, Torsten Kerl als sehr
> schneidiger Steuermann sowie Alan Titus in der Titelpartie, eine herbe
> Enttäuschung, was stimmliche Präsenz, Intonation und Aussprache anging.
> Diesem Holländer glaubte man von seinem ganzen gespenstischen Schicksal
> kein Wort.
> Die Senta aber sang Cheryl Studer, deren juristische Querelen mit der
> Bayerischen Staatsoper sich alsbald jähren. Als Agathe in Webers
> "Freischütz" soll sie, wofür kein Geringerer als Zubin Mehta seine Hand
> ins Feuer legt, der Höhen nicht mächtig gewesen sein. Klar, daß Studer
> nun, gewissermaßen vor den Toren Münchens, die Flucht nach vorn antrat:
> mit grell gestemmten, aber sehr wohl funktionierenden Spitzen, mit viel
> Tremolo im dramatischen Espressivo, das seine Wirkung nicht verfehlte,
> mit sattem, schönem Sopranklang nicht nur in der Ballade. Und mochten
> auf manchen ihrer Töne auch kleine Schatten liegen: Es war, als verleihe
> der Kampf, den Studer vor Gericht wie vor sich selber auszufechten hat,
> ihrer Senta eine zusätzliche, anrührende Dimension. Da greifen wir gern
> zu Wolfgang Wagners Lieblingssatz: "Hier gilt's der Kunst!" CHRISTINE
> LEMKE-MATWEY
As a public service, I offer herewith a translation of the above:
"The ensemble of soloists was something of a mixed bag: Hans Sotin as a
warm-hearted honest businessman of a Daland; Jorma Silvasti as an Erik
who struggled over his fate in worried, ardent tones; Marga Schiml as a
devoted Mary; Torsten Kerl as a very energetic Steersman, as was Alan
Titus in the title-role, a bitter disappointment in matters of vocal
presence, intonation, and pronunciation. Not one word of this Dutchman
about his entire ghostly fate could be trusted.
"But Cheryl Studer, a singer whose legal fights with the Bavarian State
Opera have been going on for nearly a year, sang the part of Senta. As
Agathe in Weber's _Freischütz_ she was allegedly unable to sing the high
notes, a fact attested to by no less a person than Zubin Mehta.
Certainly Studer took the bull by the horns to some extent at the very
gates of Munich: with loudly supported high notes that funtioned quite
well, with much tremolo in dramatic _espressivo_ that did not lack in
effect, with full, beautiful soprano sounds not only in the Ballad. And,
although there may have been a shadow lying across several of her tones,
it was as though the struggle of Studer in court as well as the struggle
with herself had lent her Senta an additional moving dimension. So we
resort to Wolfgang Wagner's favorite quotation: "What matters here is
art.!"
Hope this helps...
-- E.A.C.
pin...@my-deja.com
tmo...@my-deja.com wrote:
> Since I haven't heard last year's performance, I cannot compare Studer
> to herself. I would in no way say she is "finished" or amenties of the
> kind.
What a *fucking, filthy* hypocrite! And what are your own
amenities from just the other day?: "Studer sounded like a
goat, a talented goat, yes, but a goat nevertheless."
> She was not flawless, and I must say I was personnally disturbed
> by her tremolo, but it was far from the disaster some people from the
> Bavarian State Theatre has put her name in association with.
More hypocrisy, above and below.
> If she's on a way upwards, let's rejoice. I'd say she hasn't reached
> the end of this way, yet, but I wish her sincerely to be able to
> delight us again in carefully chosen parts.
Morice, go back to Opera-L, where your eloquent, elegant, intelligent,
tasteful and sensitive yet tired, jaded and duplicitous fellow
opera/drama buffs (queens ?) are bound to appreciate your goddamned
insincerity much more. And do it at once.
Matthew B. Tepper
Well, Ed really does love that dog, you know, and ever since Pláci
kicked it, it winces whenever it hears Bjoerling transpose down the
racconto in _Boheme_....
Ivrys88
Hope this [translation] helps...
It does, very much. Thank you.
GRNDPADAVE
>Date: Mon, 09 August 1999 01:07 PM EDT
>Message-id: <7on1rg$n35$1...@nnrp1.deja.com>
~~~~~~~~~~~~~~~~~~~~~~~
Well, Matthew B., I wish Ed would learn to Tepper justice with Murphy (as once
was said of a wonderful Supreme Court jurist and former Governor of Michigan).
==G/P Dave
dtritter
Hats off, gentleman! A genius!
... as schumann may have greeted this dispenser of crotte.
gaaaaaaaby scores again!
on a scale of 1 to 10, he gets top marks in:
vulgarity
tastelessness
putrid abuse of language
stupidity
and a few other categories of boorishness.
against severe opposition from some of our favorites, such as the
unlamented freeman, tommie, james cate, and fat albert, gaaaaaaby's way
out there in the vanguard. some have already retreated from the
competition, but gaaaaaaby chooses to remain, if only to show that he is
primus inter pares in his own pigsty.
never fear, gaaaaaby, match play, medal play, foreplay, misplay, however
you choose, you are this week's king of swine. Runner-up? there is none.
dft
pig...@dial.pipex.com
> In the past I posted once or twice something more critical about
Studer, maybe
> it was a little bit nasty. The main reason for that was her Isolde
(concertant)
> in Giessen. That was embarrassing, totally embarrassing.
Could you please share what you found embarrassing about this
performance? Apart from the running commentary, I found the concert
quite stunning.
Wj598
>
>-- Benji di Parigi
>
Helo
Sorry I don`t know yet. I read that Kerl will sing the premiere in Strabourg in
May next year. They didn`t say in which House in Paris.I just saw the preview
of Opera National de Paris. They will bring 21 different Operas next season BUT
NO "Tote Stadt".Brousing through an German Opera Magazin I see right now the
preview of Theatre du Chatelet its not in there too.
Maybe that helps because you seemed to know Paris.
Best...........wolf(j)
Capa081348
>Well, Matthew B., I wish Ed would learn to Tepper justice with Murphy (as once
was said of a wonderful Supreme Court jurist and former Governor of Michigan).
>
>==G/P Dave
---------------------------------------------
Hello, Dave
Despite his heritage I have always thought that Frank Murphy was a relative
lightweight compared to most of Roosevelt's appointees. But for all I know he
may have had a wonderful political career in Michigan.
The Roosevelt titans:
Hugo Black 1937
Felix Frankfurter 1939
Wm O Douglas 1939
Robert Jackson 1941
Stanley Reed 1938, Murphy 1940, James Byrnes 1941 (only served 1 year on the
court) and Wiley Rutledge, 1943 are the only interlopers in that very
distinguished lineup of jurists. The first three are giants of twentieth
century jurisprudence, and Jackson, while not quite in their league as a force
on the Supreme Court, will always be remembered for ably representing the U.S.
during the Nuremburg Trials.
Roosevelt *was* president for a long time, but very few presidents have
appointed *two* judges that could compare with Roosevelt's top four.
Roosevelt had a lot of problems with the court that he inherited (after 12
years of Republican presidents), which dismantled much of his New Deal
legislation. At one point he became so frustrated that he foolishly tried to
increase the number of members (so that he could inject some fresh thinking
into the hegemony of the "nine old men".)
Fortunately he was prevented from tinkering with the constitution in this
manner. Just as fortunately, as some of the conservatives died and retired in
the late thirties, he began his series of epochal appointments.
Best Regards,
Pat Finley
Der Reine Tor
Frank Schneiders
> I don't agree completely with Christine Lemke-Matwey, but she is
> definitely one of those who don't remain on the level of "hollow common
> places" and try to provide an analysis of the vocal performances.
I don't agree with some of her comments, too. ( I thought, for example,
Alan Titus as Hollaender, some drawbacks apart, much more interesting
than she did). This should simply be an example of one of the
non-provincial German newspapers. But you have cleared this point
already. Interesting about her review is that she mentions some of the
points you used for critical comments (Klar, daß Studer nun,
gewissermaßen vor den Toren Münchens, die Flucht nach vorn antrat: mit
grell gestemmten, aber sehr wohl funktionierenden Spitzen, mit viel
Tremolo im dramatischen Espressivo, das seine Wirkung nicht verfehlte).
Here are the slightly sharp and hard-won top notes, the prominent (fast)
vibrato. But she - and me, too, thinks that these obvious faults have
been used to dramatic effect. Here one woman obviously struggled for
her life (on stage and as a soprano) and won most critics (who have been
quite negative last year) and the public (who celebrate at Bayreuth
every singer - and themselves- as if he would be the only one and best
for this role).
This reserves our respect and if you think that she must have been
extreme nervous that night (too much pressure from the breath is always
a sign for this), one can hope that the other performances at Bayreuth
are even better.
> As for your remarks about the singers:
> I was really disappointed by Torsten Kerl. The helsman's song is for me
> one of the "evergreens" of the Hollaender and I found it lacked the
> immediate charm of an almost folksong I think it should have. A charm
> which shouldn't be reached by "naturalistic" singing, but by a perfect
> handling and poising of all the details. Of course, it's difficult to
> hire a prominent singer for this relatively small part, but I was
> sincerely reminded of an operetta tenor singing well known tunes rather
> than of the young, vital, sure and fearless (in singing) tenor I was
> expecting, with sense for the shaping and nuancing of musical lines.
> Maybe I was just expecting too much. Maybe my ideal helmsman is closer
> to a Gondoliere, too ...
Here we disagree. I think that he helmsman is a seaman and not one from
the south transporting elegant women across the channels of Venice but
one from the north sea, able to fight against storm and rain, capable to
drive home his men in good health to their maidens. He is burnt out by
an extremely exhausting day, perhaps has drunk a little bit and is dead
tired. And this character needs not a poet but a real man. Thorsten Kerl
(nomen est omen) has, unlike most I have heard (the orchestra - even for
the helmsman - is a Wagner orchestra!) , a colourful, good, strong
voice, a good top and he knows what he sings. Yes, you are right, his
singing misses perhaps some elegance, but I didn't care about that. His
way will lead him to the more dramatic parts of the (probably) German
opera land. Your comment about a second-rate Lehar tenor is a little
bit out of place here. Lehar needs and deserves much more finesse and
feeling for phrasing than the helmsman needs. And a very good Sou-Chong,
Zarewitsch or Octavio (Giuditta) as hard to find as a good Pinkerton,
Cavaradossi or Lohengrin and could and should be sung by a singer who
ideally could manage all these parts (and as Gedda, Wittrich, Tauber
could).
By the way: the best helmsman I have heard on stage has been Francisco
Araiza at Bayreuth (and of course Wunderlich on disc).
> As for Erik, I was on the contrary positively surprised not to hear the
> "game disturber" he generally is, but a singing more in the belcanto
> manner, which gave shades and depths to the part. You say Roland
> Wagenfuehrer was better last year; I'm ready to trust you. This year's
> Lohengrin seems to have established him definitively as a great
> Wagnerian tenor.
Yes, he, and thst is not the rule in the history of the documented
Bayreuth performances, can sing the part. But for me he showed little
character and I was not particularly impressed by his voice (nor by his
fast tremolo).
Generally I have to admit that I forced myself to listen to the end of
the broadcast. No one on stage and before seemed extraordinary good and
this opinion was greatly confirmed when I afterwards took my old
Melodram records of the 1959 Bayreuth performance with Rysanek,London,
Uhl, Greindl/ Sawallisch. There are faults, too, but here music and
drama play in a totally different league.
Regards
Frank
http://members.aol.com/schoen1a/welcome/home.html
tmo...@my-deja.com
frank_sc...@magicvillage.de (Frank Schneiders) wrote:
> <tmo...@my-deja.com> wrote:
> > Maybe I was just expecting too much. Maybe my ideal helmsman is
closer
> > to a Gondoliere, too ...
>
> Here we disagree. I think that he helmsman is a seaman and not one
from
> the south transporting elegant women across the channels of Venice but
> one from the north sea, able to fight against storm and rain, capable
to
> drive home his men in good health to their maidens.
Here we agree, actually. You're totally right; my remark just meant that
I was aware that the ideal helmsman I have in my head is probably more a
Gondoliere than the person Wagner thought of.
> Your comment about a second-rate Lehar tenor is a little
> bit out of place here.
I just said "a middle class operetta tenor". I agree that Lehar in
particular (and also Strauss, obviously) require special qualities. And
I wouldn't range Tauber or Gedda in the above mentioned category. I just
thought of let'say Rudolf Schock in a bad day and kept looking for more
Schmelz and also a better focus.
Let's agree on the fact Torsten Kerl placed dramatic rendering above
subtlety of singing. Whether or not we should follow him in his choice
remains a matter of taste.
> By the way: the best helmsman I have heard on stage has been Francisco
> Araiza at Bayreuth (and of course Wunderlich on disc).
I think both of them come closer to my "ideal" helmsman (without too
much Venetian sentimentalita, especially in Wunderlich's case). Needless
to say, Wunderlich was also a first-rate operetta tenor ;-))
>
> Generally I have to admit that I forced myself to listen to the end of
> the broadcast. No one on stage and before seemed extraordinary good
Same for me. I was disappointed by the first act (helsman's song, OK, we
know, but I also struggled with myself not to switch off during "Die
Frist ist um"), reconciled by the second, at least at the beginning,
then lost more and more interest, was again positively surprised by the
choral scene at the beginning of the third act, etc...
> this opinion was greatly confirmed when I afterwards took my old
> Melodram records of the 1959 Bayreuth performance with Rysanek,London,
> Uhl, Greindl/ Sawallisch. There are faults, too, but here music and
> drama play in a totally different league.
I would say the same of "my" Sawallisch Bayreuth (with Anja Silja, who
sings the ballad a tone higher).
A point is the "use" of vocal flaws for dramatic expression. A
discussion which will probably never be closed, but let's say to
illustrate my thoughts I find Callas's expressivity as Norma much more
convincing in the early fifties when her voice responded to all her
"instructions" than in the 60es when she often had to make of necessity
virtue, although there were many very moving moments.
Thierry
pin...@my-deja.com
wj...@aol.com (Wj598) wrote:
> In the past I posted once or twice something more critical
> about Studer, maybe it was a little bit nasty. The main reason
> for that was her Isolde (concertant) in Giessen. That was
> embarrassing, totally embarrassing.
Wolf(j),
A couple of days ago another lister who attended the Giessen
Tristan und Isolde and found it stunning invited you to share
with us whatever you found embarrassing about it. But you haven't
done so.
Gabriel
pin...@my-deja.com
frank_sc...@magicvillage.de (Frank Schneiders) wrote:
> Rysanek,London, Uhl, Greindl/ Sawallisch. There are faults,
> too, but here music and drama play in a totally different league.
Mr. Schneiders,
I have been unable to find this much-recommended performance.
Instead, last night I purchased the famous Decca studio set also with
Rysanek and London, conducted by Dorati. I had heard the recording
a while back and decided to give it a second chance.
Well, what can I say. It is really a disappointment, particularly
Rysanek. The recorded sound is definitely not state of the art.
But I don't care about this. What bothered me most is Rysanek's
heavy, wooly, wobbly, raspy, off-pitch and downright ugly singing
(very reminiscent of Callas' Gilda in the EMI Rigoletto). All this
seems very unbecoming for the role of Senta. But worse, I found little
excitement in her singing. Some identification, yes. Neither the
ballade nor her duets with London come close to matching Studer in the
DGG set in terms of radiance, beauty, exuberance, emotional impact
and total identification. What do you think? How does the Melodram
set compare to both Decca and DGG?
However, I found London a more sympathetic Dutchman than Weikl and
better sounding too. And Domingo, in spite of his unidiomatic German,
is really golden as Erik, quite beautiful. So is Peter Seiffert but
with idiomatic German. This DGG set has got to be a classic already.
Last but not least, the Decca set has been returned.
Wj598
>
>A couple of days ago another lister who attended the Giessen
>Tristan und Isolde and found it stunning invited you to share
>with us whatever you found embarrassing about it. But you haven't
>done so.
>
Guten Tag!
Sorry, that `s surprised me, that you didn`t finf my answer. I`m just back
from 5 days vacation in Munich and I know that I posted my answer an week ago,
Maybe I wrote only an email to that other friend from this Board who heard
anither (better) opinion.
I said something like: that since I have heard her Senta from this year (I
posted about that on the Oasis under the headline >> great Cheryl Studer<< ) I
know that she can do so much better than she did the Senta last year and twice
better than she did Isolde in Giessen. Maybe she had a bad night a half year
ago . The main point was that her voice was extremly small that night. It
seemed to be that she was in trouble to get heard in our small theatre where
only 500 people find place. Maybe it would`n`t have so much noticed that night
if the two other singers had not to be reduced a lot their volumen so that
difference between them (Siukkula and Julia Juon). But it was clear that juon
and Siukkula sang only with "half speed" (power)
That`s snow from yesterday. I´m glad that she is so good again. As I said
already; I liked her Senta very much from Bayreuth this year.
Best...................wolf(j)