In the [Tannhäuser] overture's opening episode, the chorale (called the "Pilgrim's Chorus") represents merely the weary progress of Christian pilgrims, first toward, then away from an imagined physical point; i.e., a pretty much matter-of-fact affair. In the closing episode of the overture when the chorale reappears with a ff return to triple measure in the trombones rising above, against, and in opposition to the furious, frenetic, and insistent ff rapid runs of duple measure 16ths in the strings (representing the dithyrambic claims of the Venusberg), it's not merely a recap of the chorale of the overture's opening episode but its apotheosis, a declaration of the triumph and redeeming power of self-sacrificing love over the selfish, ensnaring claims of the flesh promoted within the Venusberg. In all the readings of this overture we've heard to date [now including the present reading by Maestro Nelsons], the chorale's appearance in the overture's opening episode is taken almost as broad, slow, and triumphant (in the trombones) as its reappearance in the overture's closing episode, which is, of course, rhetorically absurd, both musically and dramatically, and, further, serves to blunt that closing episode leaving it nowhere to go dramatically except into the dumper. The Venusberg episodes (the overture's center episodes) are then taken too slow as well, both as a matter of proportion (to the too-slow opening chorale), and also as a misguided attempt at the sensuous rather than the dithyrambic for the Venusberg center as a whole, which is also wrong rhetorically, both musically and dramatically.So much for Maestro Nelsons's reading of the concert's opening work. Next came the aria "In fernem Land" from Act III of Lohengrin with Mr. Kaufmann as soloist who here turned in his typically superlative performance both musically and dramatically and by so doing all but forced Maestro Nelsons to get his reading right as well. Closing the concert's first half was the famous (and famously misnamed) "Prelude and Liebestod" stitched together from Wagner's great(est) masterpiece Tristan Und Isolde with, of course, Ms. Opolais as soloist who here acquitted herself competently and most bravely as did Maestro Nelsons. The concert then undertook an abrupt descent from the sublime to the soapy and we were treated so some Italian opera goodies which delighted the audience no end and with which Maestro Nelsons seemed more at home. We were given, one after another, "Mamma, quel vino è generoso" from Act II of Cavalleria rusticana (Mr. Kaufmann); "Un bel di" from Act II of Madama Butterfly (Ms. Opolais); the "Intermezzo" from Cavalleria rusticana (the BSO); "Tu, tu, amore?" the love duet from Act II of Manon Lescaut (Ms. Opolais and Mr. Kaufmann); and "O soave fanciulla" the Finale from Act 1 of La Bohème (Ms. Opolais and Mr. Kaufmann). As we've only passing familiarity with all these works as with Italian opera generally we can say only that they all sounded just fine to us but, for the aforementioned reason, no great confidence can be placed in our judgment on this matter. The concert closed in spectacular fashion with Respighi's spectacular orchestral tone poem The Pines of Rome complete with auxiliary brass choirs placed in several strategic locations around the great auditorium's balcony. Most impressive, both the work (which has one of classical music's most stirring closing movements) and the performance itself albeit, again, Maestro Nelsons's tempi were markedly on the draggy side. All in all, an inaugural concert of which the BSO, Maestro Nelsons, and Boston need not be ashamed although it struck us as more than a little, um, curious that the inaugural concert of a symphony orchestra with its new music director on the podium should be programmed by that music director almost entirely with music of the opera and with opera stars as soloists.
I challenge @alexrossmusic to defend (or at least explain) promoting this "music" by giving it notice.The Twitter ID "@alexrossmusic" belongs to Alex Ross, one of the nation's most prominent and respected classical music critics, a best-selling author (The Rest Is Noise: Listening to the Twentieth Century), and the classical music critic for The New Yorker, one of the nation's most prominent and respected journals, and the "music" referred to is this; something only a Cagean or Stockhausean fundamentalist gone off the deep end would or could mistake for music. Mr. Ross's responding tweet — deleted by Mr. Ross almost as soon as it was posted and which tweet we didn't think to make a verbatim record of simply because we never imagined it would be necessary — was brazenly and uncharacteristically arrogant and self-important and made no attempt whatsoever to either acknowledge or answer our challenge. As Mr. Ross is hardly the only classical music critic, print and/or digital, professional or amateur, guilty of promoting cacophonous noise (literally noise) masquerading as music under cover of being "performed" by legitimate musicians and being declared music by one or more classical music critics, one might imagine we're here picking on Mr. Ross for personal reasons but in so imagining one would be wrong. We singled out this particular instance because it's so off-the-chart egregious and because Alex Ross is Alex Ross who in his intensified zeal to promote new music (a perfectly honorable, necessary, and, especially for one in Mr. Ross's position, obligatory enterprise) since the publication of his above noted bestselling book has here done all classical music a grievous disservice. No matter how illustrious one's professional stature, one cannot hope to convince or persuade a potential audience for classical music, whether classical music of the new or canonical sort, by treating that potential audience as if it were made up of tone-deaf idiots who can be persuaded that actual noise is actually music simply on the say-so, explicit or implied, of an acknowledged expert. It's time, long past time, that classical music critics of all statures within the profession embarked upon a searching, brutally frank, no-holds-barred reassessment of their professional selves and the effect of their work upon classical music audiences both existing and potential.
IAN wrote: "How dare something like politics, imperialism, contemporary audiences or that Butterfly is a child interfere with all the twirling parasols and cherry blossoms out the wazoo! And a great big cheery hello to that evergreen bete-noire of people who’d rather spend the day with a recording and posting outrage on Opera-L than darken the lobby of an actual opera house, the Bieito Ballo." And speaking of politics, imperialism, contemporary audiences and bêtes noires... The first thing one must understand about so-called Konzept opera stagings such as the Bieito _Ballo_ horror noted above (or pretty much any Bieito Konzept opera staging) is that they're NOT undertaken to make an opera "relevant to modern audiences" although that's the most common defense/justification in behalf of such stagings as IAN's above remarks demonstrate. The very idea is preposterous. Konzept opera stagings are almost always undertaken for a dual purpose: to energize the jaded operagoer and to give the Regie the opportunity to establish himself (or herself as the case may be) as a unique and separate creative entity (i.e., separate from the opera's original creator) never mind that it always involves the hijacking of the work of the opera's original creator. And there's also a more practical reason for undertaking a Konzept opera staging: it's a piece of cake, creatively speaking, as opposed to coming up with a new and resonant Werktreue opera staging fully faithful in sense and spirit to the opera creator's original intent as made manifest in the opera's score (music, text, and stage directions). Any hack can do the former. It takes a Regie of genuine and uncommon creative gift to accomplish the latter. Unhappily, as Regies go, the former are legion, the latter almost as rare as unicorns. ACD
It had to happen. As surely as the irresistible force had to meet the immovable object, as surely as Frankenstein had to meet the Wolfman [sic], Roger Norrington and his London Classical Players had to confront Richard Wagner, the fountainhead of everything against which Mr. Norrington, and all of Early Music, have been in constant zealous revolt. The resulting CD (EMI Classics 5 55479 2), which contains the Rienzi Overture, the Prelude to Act III of Lohengrin, the Prelude and "Liebestod" from Tristan und Isolde, the Meistersinger Prelude, the Siegfried Idyll and the Parsifal Prelude, is one of the most fascinating recordings of the year just past, and one of the most important. Which is not necessarily to imply that the performances it preserves are any good.Read the whole thing.
The woodenheaded board of Der Richard Wagner Stiftung Bayreuth has renewed Katharina Wagner's contract as (sole) director of the Bayreuther Festspiele through 2020. What further proof beyond her disastrous first (co-)tenure of the past six years do these idiots need to convince them Katharina's continued directorship of the Festspiele sounds the very death knell for this venerable institution, the world's oldest and most storied music festival?To which a forum member replied:
"Death knell for this venerable institution"? Just what are you basing that on exactly? People who have actually seen what she has done there seem to continue to go.To which we replied:
On what am I basing that exactly? Why, on actually having seen what Katharina's done there, of course. And as to people continuing to go despite the artistic damage Katharina has already managed to inflict on the Festspiele, people will continue to go to the Festspiele in future no matter how grotesque the productions and less than first-rate the music-making if for no reason other than to experience the amazing Festspielhaus itself, to get a dose of real or imagined nostalgia, and as a kind of pilgrimage of sorts. Artistically, the Festspiele is already beginning to be considered of little cultural importance as well as being something of an embarrassment for Wagnerians, except, of course, inside Germany where other powerful, largely nationalistic forces come into play.Things then began to get quite ugly. MSM opera critic and Eurotrash champion and cheerleader James Jorden, posting under the screen name "La Cieca", responded with the following one-liner:
You haven't been to Bayreuth, you loudmouthed fraud.To which we replied, exercising as much restraint as we could muster:
I never said I'd been to Bayreuth to see what Katharina had done there during her tenure vis-à-vis Festspiele productions (what an idea!), you Eurotrash-besotted, petty little shit. No need to go to Bayreuth for that purpose these days. The full-length presentation of several Bayreuth productions during Katharina's tenure were made available for all to see via YouTube and some also streamed direct by Bayreuth itself. Along with piecemeal video glimpses of several other Katharina-tenure Bayreuth productions, that was more than sufficient for one to make an informed, considered judgment. Needless to say, ALL the productions during Katharina's tenure — every last one of them — have been irredeemable, utterly unmitigated Eurotrash. Since Katharina assumed the Festspiele directorship (along with her Festspiele co-director half-sister Eva Wagner-Pasquier who has now stepped down) not so much as a single Wagner opera or music-drama has made its way to the Festspiele stage. No surprise there. Katharina is and has been a steadfast and devoted Eurotrash champion of longstanding (it was she, for instance, who was responsible for the über-grotesque "disintegrating bunny" _Parsifal_ of Christoph Schlingensief mounted at the Festspiele during her father's (Wolfgang's) tenure). Do you have anything of value to add to this thread, little man? If so, let's hear it.Apparently nothing of value to add as nothing further was heard from Mr. Jorden in this thread.
I've never seen _Klinghoffer_ and was looking forward to the HD telecast of the opera just to discover what all the fuss was about. That now looks like an event unlikely to take place. There is, however, something I can say about such operas generally (i.e., operas grounded in real, historical events still alive in living memory which would include Adams's _Nixon_ and _Dr. Atomic_) which is that as intended works of art they're a really bad idea from the get-go. The reason for that is that it's all but impossible for a viewer to, at least subconsciously, NOT overlay and/or graft his thinking, biases, and prejudices concerning what was true or perceived as true about the historical case and its surrounding context onto the operas even though the operas themselves may not even so much as have touched on any particular point(s) in question. Once that happens, the work instantly degenerates into propaganda (agitprop) and so becomes, poetically and aesthetically, of little value or worth in its totality as an artwork. Such was true of _Nixon_ and _Dr. Atomic_ (the latter of which two operas has some sumptuous and genuinely beautiful music) both of which operas I did see. Opera creators would do well to stay away — far away — from involving themselves in the creation of such operas — unless, of course, it's their intention to create such Brechtian-poisoned crap.
We ALL need to talk. Arts administrators, Directors and Conductors, Audience members, Conservatoires, teachers, Families, Friends, Singers and Press and Critics and Opera Companies… EVERYONE. All of you who have known and love Opera...and still do. All of you who know it to be the Art form that is about celebrating the human voice, the human voice at its most Olympian heights of expression. [...] [Opera] is not about lights, it is not about costumes, it’s not about sets, it’s not even about sex or stature… It is ALL about the human voice. [...] All the visual messages that a production and costume brings to an opera does not alter ( even though they can try very hard) the fact that it’s true success in moving and making an audience love the Art form lies in the voice that sails across the pit to the audience and into their ears. ... [Opera] is about and really ONLY about communication through great singing. [...] OPERA is ALL about the voice. Many of those who think they know me and may be surprised by this. But it’s not an opinion, it’s a FACT [all caps for emphasis Ms. Coote's].This sounds like a rant coming from a TOF (TOF: True Opera Fan — like a teenage movie fan only worse; much worse), not an opera professional. So, opera is all about the voice, is it? Well, in certain limited cases we suppose that's true, and most particularly true of those operas belonging to the so-called bel canto opera era. They are indeed "all about the voice" by design as, after all, there's precious little else there all the rest being nothing more than platform and pretext for the showcasing of voices and singing. But Strauss's Der Rosenkavalier is no such opera. It's a genuine dramma per musica — a genuine music-drama — as are all Wagner's mature works and even several of his earlier operas (Der fliegende Holländer, Tannhäuser, and Lohengrin) as well as all Mozart's mature works (the so-called Da Ponte operas and even his Singspiel, Die Zauberflöte). None of these stageworks are "all about the voice". They're all about the (music-)drama the singers and singing being just one part of the performance apparatus which exist solely to serve the central (music-)drama. And since when has it been improper and in bad taste to comment on the physical appropriateness of the (singer-)actors in a fully staged presentation of a (music-)drama? Answer: never. It's all fair game for, and in fact a professional obligation of, the professional opera critic to make such comment and has been since Day One. The problem in this particular case was not a fault of the critics but of the inexperience of Ms. Erraught and the advice of her advisors (not to even speak of the production's director) who should have known better than to allow her to accept the role of Octavian in a fully staged version of this opera even though she is more than up to the role vocally and acting-wise.
“Life is a bitter, painful fight” – the words, coming from the cavernous bass voice on the platform, reverberate round the tent until [director Graham] Vick interrupts to explain the emphases he wants. The temperature may be chilly but the mood is collaborative, and the atmosphere starts to heat up when another operatic bass starts to declaim simultaneously from an opposing platform. The scene also involves two stagehands, who hold placards emblazoned with the slogans “Homosexuality is a sickness” and “Our simple freedom is the right to carry a gun”. Vick, pointing to the first singer, interrupts again: "Don’t sing to him – sing to the world." It is doubtful that the 19th-century Russian composer Modest Mussorgsky envisioned such a scenario when he wrote Khovanshchina, his epic tale of social and political conflict – but it encapsulates much of what Vick’s work is about. A long-time Russophile, he wants to draw parallels between the society portrayed by Mussorgsky, riven by political and ethno-religious strife, and the world we live in today. The opera, which Mussorgsky left incomplete, is being sung in English under a new title, Khovanskygate: A National Enquiry.Read the whole thing here.