You know how I like the piss taken out of Wagner and I haven’t indulged in a good while. But a Ring is being forged at ROH, so I must pay my homage. This time I’ve modestly just “curated” a few quips and occasional back and forths from Le Guardian, the beacon brightening up boring afternoons at work.
Shakespeare, perhaps the world’s first psychic opera critic, summed up The Ring Cycle perfectly: “It is a tale told by an idiot, full of sound and fury and signifying nothing” (bergisman)
Just stupid. (Markus6974)
Anyone who is able to respond with an open heart to music and drama loves the Ring. (Shrimpandgrits)
Wagnerians are nut jobs. (rouputuan)
As I have said, I am tone-deaf. (Shrimpandgrits)
I’ll give this one a miss. Seen the Ring Cycle twice, tried my best, but far too long, tho with some nice tunes. (tatterdemelon)
Wagner? No! Utter dross. Mozart, Rossini, Bizet, even Verdi or Puccini on a good day. But Wagner? He should have been writing musicals, Cats or Phantom of the Opera. Fine, if you like that sort of thing, but it isn’t opera. (Linda Roberts)
You don’t really know much about music, do you?1 (LevNikolayevich)
Linda, I’ve marked your comment:
‘Wagner?’ Yes. 19th century composer, musically speaking not that controversial in the 21st.
‘Utter dross’ If you mean worthless then no it’s not dross, I encourage you to look up how much tickets cost for this production. If you mean artistic dross then I would like you to explain further.
‘He should have been writing musicals, Cats or Phantom of the Opera’ Ah, a good stab at humour there.
‘Fine, if you like that sort of thing’ A little condescending perhaps but thanks!
‘but it isn’t opera’ well, you can label it whatever you like of course but as it generally has to be performed in an opera house with operatic singers then you’ll forgive people for calling an opera from time to time.
Engaging with the subject: C
Encouraging people to listen to classical music: D
Ensuring people don’t think of classical music lovers as Snobs, Elitist, Close Minded: F2 (Henry Melbourne)
“Wagner – utter dross”
Doesn’t say anything at all other than you don’t like Wagner.
“….even Verdi or Puccini on a good day”
So not really a fan of Verdi either, not even Otello? I don’t know why you bothered coming here.3 (dwhitley)
This is such a poorly written article. It’s in desperate need of a decent sub editor. (Campagnolo)
They said the same to Wagner. (chris1958)
Some of my friends have sat through the Ring at Bayreuth, giddy from heat and discomfort. (Shrimpandgrits)
I had the ambition to try and ‘do the Ring’ for years and persuaded my spouse that we should give it a go…and it has turned out to be the greatest cultural experience of my life – no exaggeration! (PandaMonium13)
“You’d be surprised how calm and business-like it is”
I’m not surprised at all. Wagner’s Ring, is a huge, technical tour-de-force, a gargantuan gorging on one trumpet-blast after another mechanically melded into some pretty twittering and rustling cleverly connected to a dramatic dirge dovetailed into a bombastic blast of brother-sister incest and so on. Schubert’s Winterreise has more drama, musicality and artistic sincerity in an hour and a half, than the Ring’s sixteen hours of precision engineering. You have to be matter-of-fact to deal with it as a singer. People go to see the Ring like punters flock to motor shows. To be impressed and wowed. Not moved. (routputuan)
- knowing something about music won’t have an effect on one’s love or lack thereof of Wagner. ↩
- I have a special dislike for people who mark somebody’s comment like this. Talk about snobs, elitists etc. ↩
- I would say for someone who doesn’t like Wagner, Verdi’s Othello would be especially problematic. Why not say “don’t you even like La traviata?” After all, she said she could sit through Verdi “on a good day”. ↩
Goerne is one of those people who does not sing in a repertoire I frequent, but, for whatever reason, I thought I should go see him (I do read reviews/writeups of a wider rep than I physically enjoy and in hindsight it can be hard to pinpoint what made me curious about one singer/work or another).
Once again, it was a wise choice (wise beyond my ears, that’s me). Right from the getgo I thought, wow, this is a gorgeous voice! And later I could see how skilled he is at building drama with that lucky break he got from the universe. The second part of the performance did start to get a bit same-y in mood, which happens often enough in recitals, as singers I guess find a groove that works for their psyche and/or voice and go with it, often potentially losing the casual listener who’d like a bit of variation.
The general mood that works for him seems to be rather sinister – it fit seamlessly with the cruel-ish intentions dream (I know, right? ha.ha…) I had woken up with that morning – which kept my imagination busy particularly during the Pfitzner set.
Seong-Jin Cho brought all the Korean women in the Wiggy yard – and I mean all of them! I hadn’t seen so many Koreans in one place since Uni days (my school was very popular with South Koreans). One of them came and asked me about my seat (remember that story? this was the first time it happened that week) but then softly drifted away before I could even answer, just like Cho’s pps 😉
Matthias Goerne baritone
Seong-Jin Cho piano
Hugo Wolf (1860-1903)
Drei Gedichte von Michelangelo
Hans Pfitzner (1869-1949)
Sehnsucht Op. 10 No. 1
Wasserfahrt Op. 6 No. 6
Es glänzt so schön die sinkende Sonne Op. 4 No. 1
Ist der Himmel darum im Lenz so blau Op. 2 No. 2
An die Mark Op. 15 No. 3
Abendrot Op. 24 No. 4
Nachts Op. 26 No. 2
Stimme der Sehnsucht Op. 19 No. 1
Richard Wagner (1813-1883)
Richard Strauss (1864-1949)
Traum durch die Dämmerung Op. 29 No. 1
Morgen Op. 27 No. 4
Ruhe, meine Seele Op. 27 No. 1
Freundliche Vision Op. 48 No. 1
Im Abendrot from Four Last Songs
Fantastic ROH news:
During this extended period there will be 2 (yes, two) new Handel productions! The very brand new one by Kosky! The other one – new to ROH – you know and love by Loy (not that one, the other one). Scroll down 😉
Tl;dr: this is turning into a really excting period at ROH and not just because of Handel (but especially). I am also expecting Poppea cca Januray 2020, after the first two Monteverdi instalments. Very low on Mozart, though. You know there is more to him than the DaPonte stuff (and Mitridate).
It’s that time of the year people are eager to find out what’s coming up, so here are some updates from the ever reliable source. I put a NEW next to the information that’s transpired since my last post on the subject:
late 2018 – 2019
Katya Kabanova (Janacek)
NEW Fall 2018 | Production: Richard Jones all the Janacek! from Jones!
The Queen of Spades (Tchaikovsky) Co-Production with De Nederlandse Opera | Production: Stefan Herheim
NEW January 2019 | Polina: Anna Goryachova <- will they keep the trouser role scene?
La Forza Del Destino (Verdi) February 2019 | Conductor: Antonio Pappano
Production: Christof Loy <- Leo gets a white shirt?
Don Alvaro: Jonas Kaufmann
Leonora: Anna Netrebko
Fra Melitone: Alessandro Corbelli
NEW Das Liebesverbot (Wagner) coproduction with Teatro Real-Madrid
Spring 2019 | Director: Kasper Holten
NEW Billy Budd (Britten)
Conductor: Richard Farnes | Director: David McVicar hm, why not?
NEW Le nozze di Figaro (Mozart)
2019 La Contessa: Julia Kleiter
NEW March 2019 | Marguérite: Diana Damrau I might go
NEW Otello (Verdi)
Desdemona: Ermonela Jaho
Andrea Chénier (Giordano)
NEW Spring 2019 (pushed back)
2019 – 2020
NEW Jenufa (Janacek)
Director: Claus Guth
Kostelnicka: Karita Mattila yes to more Mattila and more Janacek. Hope Guth will be on form.
Death in Venice (Britten)
Conductor: Mark Elder | Production: David McVicar
Production: Barrie Kosky ❤ you know you want to come to London!
[edit: debuting in Munich this Summer with Coote in the title role and Fagioli and Davies as Nerone and Ottone]
edit 4 April 2019, due to the high traffic this post is getting:
Ariodante (Händel) -> instead of the above? I don’t know if I should complain; it’s Ariodante, after all, and with JDD. Why can’t we have both? Handel wrote most of his work in London. We should be swimming in Handel every other season.
Elektra (Strauss) 2020
Klytemnestra: Karita Mattila I’ll go see her!
Parsifal (Wagner) 2020
Conductor: Semyon Bychkov
Madama Butterfly (Puccini) Summer 2020
Conductor: Antonio Pappano
Goro: Carlo Bosi
NEW 2020 – 2021
Les Contes d’Hoffmann (Offenbach) Fall 2020
Hoffmann: Juan Diego Florez
So they’re chucking out their ancient Hoffmann? Good riddance! I hope Michieletto does something with this sexist story. On the other hand, there’s a lot of Hoffmann in just a few years, chap wrote other fun stuff (like his take of Orphee).
Hänsel und Gretel (Humperdinck)
Production: Antony McDonald I wonder if it’s replacing the cancelled Konigskinder?
4 new works inspired by Slavoj Zizek’s writings (Saariaho, Turnage, Francesconi, Widmann) heh, interesting idea
Librettist: Sofi Oksanen
Alcina (Händel) ❤ ❤ ❤
Production: Christof Loy (from Zurich)
Bradamante: Varduhi Abrahamyan ❤
I’m expecting everyone to London for an extended Alcina party!
Věc Makropulos (Janacek) ❤ Mattila, right? She sang it at Southbank a couple of years back ❤
Much like the mysterious knight, I usually try to keep my everyday life a mystery 😉 but Wagner uncharacteristically came to the rescue this time and I can file this moaning session under “musically related” (if tenuously so). If you want to skip it I’ll leave you with the porcelain swan sleigh. Click on it for a version of the Lohengrin act I prelude conducted by a chap whose surname translates to fisherman. turn loose the swans