Sep 7, 2008
Regietheater
Coming Soon
Romanticism and Reaction: Rachmaninov and Prokofiev
The two Sergeis: giant men, giant pianists, and giant composers whose music has not always gotten the respect it deserves.
The two Sergeis: giant men, giant pianists, and giant composers whose music has not always gotten the respect it deserves.
American Masters
American classical music has evolved its own heterogeneous identity, characterized by energy and optimism – rom its Eurocentric beginnings, exemplified by composers such as MacDowell and Griffes, through the encounters of Americans abroad with such musicians as Boulanger and Stravinsky
American classical music has evolved its own heterogeneous identity, characterized by energy and optimism – rom its Eurocentric beginnings, exemplified by composers such as MacDowell and Griffes, through the encounters of Americans abroad with such musicians as Boulanger and Stravinsky
Paris. Rome. Nagasaki. The Gold Rush. Florence. Legendary China. How many directors want to relocate Michele’s barge from the Seine to, let’s say, the Ohio River? Who wants to replace the Emperor Altoum’s stairway to heaven with, let’s say, the head of the table in a corporate boardroom?
Aug 20, 2007, 12:45pm
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Elitism and the Marketplace in Opera
One of the ironies implicit in the Mac Donald essay, discussed in this forum yesterday, is that traditional and respectful performances of the standard repertory may soon be presented by, and enjoyed by, a sort of elite; an elite distinguished by sane cultural values as opposed to a common denominator of hubristic trash which will come to “abduct” operatic culture. Well, this is unlikely, except just possibly in Germany, but it could happen, I guess. It seems like it is happening, actually, by some barometers.
Aug 12, 2007, 10:25am
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One of the ironies implicit in the Mac Donald essay, discussed in this forum yesterday, is that traditional and respectful performances of the standard repertory may soon be presented by, and enjoyed by, a sort of elite; an elite distinguished by sane cultural values as opposed to a common denominator of hubristic trash which will come to “abduct” operatic culture. Well, this is unlikely, except just possibly in Germany, but it could happen, I guess. It seems like it is happening, actually, by some barometers.
Aug 12, 2007, 10:25am
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I recently recommended the Heather Mac Donald article, “The Abduction of Opera” which appeared in City Journal. I continue to recommend this unusually astute evaluation of some of the directorial excesses afflicting the operatic world today, but would like to comment more specifically, and include a few reservations.
Aug 11, 2007, 7:55am
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In the preface to George Perle’s definitive study of Alban Berg’s Wozzeck, Perle takes vitriolic aim at the French director Patrice Chereau’s inaugural production at the Paris Opera of the three act version of Berg’s magnum opus, Lulu. Perle is offended by Chereau’s disregard of, and subversion of, Berg’s text. He even enlists that hothead of all hotheads, Hector Berlioz, on his behalf, quoting a passage from Berlioz decrying directors who similarly abused Mozart and Weber. As always with Berlioz, his comments are highly entertaining and incredibly hyperbolic. Berlioz’s advice to his director nemesi? “Despair and Die!”
Aug 10, 2007, 8:25am
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Since John has brought up the latest directorial excesses from Bayreuth I thought I’d provide some links for those who want to read more.
Aug 6, 2007, 3:45pm
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According to the NY Times for Tuesday, July 31, Katharina Wagner’s new production of Die Meistersinger for the Bayreuth Festival featured topless dancers, complete male nudity, plastic phalluses, and “a bizzare auto da-fe” In the third act. For years I've vacillated back and forth about the validity of such productions.
Aug 5, 2007, 2:20pm
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